litd  Edition 

CROIR 


HJTO 


Ci^oRas  Co)HDact:i]^T6 


A  TREATISE 

On  the  Orgfanization,  Managfemcnt^  Training;,  and 

Conducting:  of  Choirs  and  Choral 

Societies 

BY 

F.  W.  WODELL 


PHILADELPHIA 

THEODORE    PRESSER 
t909 


Copyright,  J 90 J,  by  Theodore  Presser, 


Ji59769 


Preface. 


This  book  is,  in  some  measure,  the  outcome  of  the 
author's  desire  to  be  of  service  to  such  as  need  assist- 
ance in  the  work  of  organizing  and  conducting  Choir 
or  Choral  Society. 

It  is  hoped  that  it  will  bring  aid,  suggestion  and 
stimukis  to  workers  in  this  field.  Its  production  has 
afforded  pleasurable  employment  for  the  "  spare  hours  " 
of  a  professional  life  for  a  considerable  period.  May 
its  perusal  be  to  many  a  source  of  profit. 

The  Author. 
Boston,  Jan,  1901* 


Choir  and  Chorus  Conducting, 


Part  I. 
ORGANIZATION. 

Chapter  I. 

Intf  odtJCtion* — In  organizing  a  church  choir  account  should 
be  taken  of  the  special  purpose  for  which  it  is  designed  : 
whether  it  is  to  lead  the  people  in  song,  or  to  sing  as  proxy  for 
the  people,  or  both.  The  style  of  music  to  be  sung  and  the  size 
of  the  auditorium  are  also  items  for  consideration. 

A  quartet  is  seldom  effective  in  the  promotion  of  good 
congregational  singing.  A  quartet  which  sings  modern  tunes 
with  their  rich  harmonization,  and  is  given  to  over-much 
' '  expressiveness ' '  in  the  way  of  shading  and  variations  of 
tempo,  discourages  the  average  worshipper  and  prevents  his 
joining  in  the  hymn  singing.  Where  a  quartet  is  to  be  used 
to  lead  the  congregation  in  the  hymns,  it  should  be  made  up  of 
powerful  voices,  and  frequently  sing  the  melody  in  unison, 
keeping  a  steady  pace. 

Church  music,  available  for  quartet  of  male  or  female 
voices  is  comparatively  limited  in  quantity. 


6  ;  cHoiii :  A,5?i? ''(?H.Qiius  conducting. 

As  compared  with  the  quartet  of  mixed  voices,  both  the 
male  and  female  quartets  lack  variety  of  tone-color  and  are 
consequently  deficient  in  expressiveness.  Both  male  and 
female  quartets  are  capable  of  rich  effects. 

The.  popular  ear  appreciates  the  virility  of  the  voices  and 
the  richness  of  the  close  harmony  in  the  singing  of  the  male 
quartet,  and  such  a  choir  is  therefore  much  in  demand  for 
special  kinds  of  work,  particularly  the  singing  of  the  more 
simple  settings  of  familiar  and  '  '■  gospel ' '  hymns. 

The  female  quartet  lacks  the  virility  and  breadth  of  tone 
of  the  male  quartet.  It  can  be  used,  however,  to  good 
advantage  to  give  variety  to  a  service.  It  is  very  seldom  used 
alone  as  a  choir.  Some  beautiful  sacred  music  has  been 
written  by  good  composers  for  its  use. 

The  Male  Quartet  Choir, — In  organizing  a  male  quartet 
choir,  great  care  must  be  taken  to  secure  a  proper  balance  of 
the  voices.  The  first  or  highest  tenor,  should  be  the  lightest 
voice,  (have  less  volume  than  the  others),  and  should  play 
about  ''high"  E,  F,  and  G  with  ease  and  freedom.  The 
second  or  lowest  base  should  have  the  greatest  volume,  and 
should  descend  with  ease  and  full  voice  to  the  low  F.  A 
mistake  is  often  made  in  placing  a  heavy,  semi-baritone  voice 
as  the  second  tenor  of  a  male  quartet.  In  such  case  the  balance 
of  parts  is  lost ;  the  inner  part  is  made  too  prominent.  A 
better  plan  is  to  have  a  first  tenor  sing  second  tenor.  It  is 
unwise  to  use  a  heavy  baritone  as  the  first  bass  of  a  male 
quartet.  The  first  and  second  basses  then  sound  too  much 
alike,  their  parts  become  ' '  muddy, ' '  and  they  over-balance  tha 
tenors.  The  greatest  error  is  to  put  a  second  tenor  into  the 
position  of  first  tenor.  The  quartet  will  then  always  sound 
top-heavy,  there  will  ever  be  danger  of  flatting,  and  blending 
and  delicate  shading  will  be  well-nigh  impossible  of  attain- 
ment. 


ORGANIZATION.  7 

First  tenor  and  second  bass  voices  are,  in  this  country, 
comparatively  rare.  Sometimes  a  young  tenor  who  has  thought 
his  compass  of  effective  tones  restricted  to  ^  ^  high  G, ' '  has  a 
light,  thin  upper  voice  which  he  is  afraid  to  use.  Judicious 
training  of  that  light  upper  voice  on  downward  scales  and 
arpeggios,  gradually  increasing  the  force  of  the  notes,  will  some- 
times develop  in  such  an  one  a  good  first  tenor  voice. 

The  Female  Quartet* — The  voices  for  a  female  quartet 
choir  must  balance  as  do  those  of  the  male  quartet.  The  first 
soprano  should  have  a  light,  lyric  voice,  singing  easily  around 
upper  E,  F  and  G.  With  this  voice  should  be  associated  a 
light,  high  mezzo-soprano,  or  better,  a  first  soprano  singing  as 
second  soprano.  The  first  alto  should  be  a  mezzo-contralto,  or 
a  mezzo-soprano  who  has  a  good  low  A.  The  second  alto  must 
needs  be  the  ' '  bass  ' '  of  the  quartet  and  should  possess  a  round 
full  tone  to  low  F.  This  voice  seldom  sings  higher  than  third 
space  C,  treble  clef.  The  ordinary  choir  soprano  should  not  be 
used  as  a  first  soprano  in  female  quartet  work.  The  voice  is 
too  full  in  character,  and  the  part  runs  too  much  above  the 
limits  within  which  it  is  most  at  ease.  Occasionally  what  has 
seemed  to  be  an  unpromising,  weak  soprano  voice,  of  not  more 
than  an  octave  in  compass,  from  middle  G  (  treble  clef  )  to  high 
G,  has  under  training,  turned  out  to  be  a  genuine  lyric,  or 
first  soprano. 

The  Female  Trio* — The  best  combination  for  the  trios 
for  female  voices  sometimes  met  with  in  music  for  the  church 
is  usually  that  of  a  light,  high  soprano  for  the  upper  part,  with 
a  high  mezzo-soprano  for  the  second  part,  and  a  broad,  low 
mezzo-soprano  or  chorus  alto  for  the  lowest  part.  As  a  rule 
the  high  mezzo-soprano  is  given  the  upper  part,  but  the  effect 
is  never  of  the  best.  The  characteristics  of  each  composition 
must  govern  the  choice  of  voices.  The  point  here  made  is  that 
frequently  the  true  effect  of  the  music  is  not  brought  out  because 
a  voice  of  too  heavy  a  character  is  assigned  to  the  upper  part. 


8  CHOIR    AND    CHORUS    CONDUCTING. 

The   voices  of   a  male   and  of   a   female   quartet   should 
taper  in  volume  as  shown  in  the  accompanying  diagram  : 

Tenor.  I  Soprano. 


The  Male  ot  Female  Chorus. — This  may  best  be  considered 
as  an  aggregation  of  quartets.  The  full  bodied  voices  must  be 
kept  off  the  upper  parts,  or  a  '' top-heavy"  effect,  with  flat- 
ting, is  almost  inevitable. 

The  Mixed  Quartet  Choir. — The  mixed  quartet — Soprano, 
Contralto,  Tenor  and  Bass — is  a  form  of  choir  popular  in  the 
United  States.  It  is  seldom  well  chosen  either  as  to  balance  or 
blending  of  voices. 

As  a  rule,  in  selecting  singers  for  a  quartet  choir,  one  voice 
(  usually  the  soprano  or  the  tenor  )  is  settled  upon,  for  various 
reasons,  musical  and  otherwise,  as  one  that  must  be  had,  and 
the  remaining  three  voices  are  taken  without  much  thought  as 
to  whether  they  will  blend  and  balance  with  the  one  first 
chosen.  A  major  part  of  the  available  appropriation  is  used  in 
paying  the  special  voice,  and  necessarily  the  committee  is 
hampered  in  the  work  of  choosing  the  remaining  members  of 
the  quartet. 

As  a  result  so-called  quartets  are  often  made  up  in  a 
peculiar  manner.     As  for  instance :  A  light,  high  soprano,  a 


ORGANIZATION.  9 

full- voiced  contralto,  a  robust  tenor,  a  baritone.     This  combina- 
tion is  too  light  at  top  and  bottom. 

Another  ill-balanced  choir  often  met  with,  is  this  :  A  full, 
dramatic  soprano,  a  mezzo-contralto,  a  light  tenor,  a  full,  low 
bass. 

Perhaps  the  least  satisfactory  combination  is  one  not  infre- 
quently found  in  the  wealthier  churches,  in  which  the  desire 
for  voices  possessing  extremely  high  and  low  tones  is  gratified 
at  considerable  expense.  Here  is  found  :  A  light,  high  soprano, 
a  contralto,  a  lyric  tenor,  a  low  bass.  A  duet  between  the 
soprano  and  bass  of  this  combination  is  about  as  satisfactory  as 
would  be  one  by  the  piccolo  and  bass  tuba  of  the  orchestra. 

Voices  of  great  power,  and  voices  of  extremely  high,  or 
low  range,  as  the  case  may  be,  are  comparatively  scarce.  The 
very  full,  low  bass,  in  America,  is  more  scarce  than  the  light, 
high  soprano.  Good  tenors  of  any  class  are  not  at  all  plentiful. 
There  is  also  a  lack  of  genuine,  low  contraltos.  Most  quartet 
contraltos,  are  mezzo-sopranos  whose  low  tones  are  heavy 
and  full.  Too  often  these  low  tones  are  artificial  (  forced  )  and 
to  the  cultivated  ear,  accustomed  to  the  genuine  contralto  voice, 
decidedly  unpleasant. 

Under  these  circumstances,  it  is  less  difficult  and  expensive 
to  form  a  quartet  choir  on  the  basis  of  a  baritone  voice  for  the 
bass  part.  This  would  naturally  mean  the  association  with 
such  a  bass  of  a  mezzo-contralto,  a  lyric  tenor,  and  a  high 
soprano.  Much  of  the  modern  music  for  quartet  choirs  is 
written  for  all  the  voices  at  high  pitches,  presumably  for  the 
sake  of  brilliancy,  and  such  a  quartet  as  has  just  been  mentioned 
is  needed  to  do  it  justice. 

Following  is  a  suggestion  for  two  quartets,  drawn  up  with 
reference  to  balance  of  voices  : 

No  1. — A  light,  high  soprano,  a  mezzo-contralto,  a  lyric 
tenor,  a  baritone. 


10  CHOIR    AND    CHORUS    CONDUCTIXG. 

No.  2. — A  full,  mezzo,  or  dramatic  soprano,  a  contralto,  a 
robust  tenor,  a  full,  low  bass. 

An  item  of  equal  importance  mth  balance  of  tone  in 
making  up  a  quartet  choir,  is  that  of  the  blending  quality  of 
the  voices.  There  can  be  no  true  quartet  singing  without  this.  \ 
Oft-times  a  singer  is  acceptable  as  a  soloist,  but  unsatisfactory 
in  quartet,  because  the  quality  of  the  voice  makes  it 
'  ^  stick  out ' '  from  the  other  voices.  Frequently  this  is,  to  a 
large  extent,  a  matter  of  voice  production.  A  forced  tone  may 
be  ''on  the  pitch,"  but  it  will  not  blend.  Perfection  of  into- 
nation is  an  absolute  pre-requisite  to  the  blending  of  voices.  No 
matter  how  well  a  singer  may  perform  in  other  respects,  if  he 
has  a  tendency  to  sing  off  the  pitch  on  a  given  note  or  vowel, 
that  singer  is  not  properly  available  for  fine  quartet  work. 

In  the  grand  orchestra  the  instruments  are  divided  into 
families  ;  that  is,  groups  having  the  same  general  tone  color  ; 
as,  for  instance,  the  trio  of  trombones,  or  the  quartet  of 
strings  ;  each  instrument  having  a  certain  individuality  as  it 
sounds  its  note  of  the  chord,  yet  each  member  of  the  trombone 
or  string  family  having  a  voice  which  bears  a  strong  color- 
resemblance  to  the  voices  of  the  other  members  of  the  family. 
When  the  members  of  one  of  these  families  sing  together 
the  blend  is  very  close,  and  the  effect  full  and  rich.  So  with 
human  voices.  When  four  moderately  good  voices  are  found 
in  one  family,  so  that  a  mixed  quartet  may  be  formed  there- 
from, there  is  usually  a  strong  family  likeness  among  the 
voices,  a  resemblance  in  tonal  hue,  which  gives  a  close,  rich 
blend. 

It  is  not  necessary,  however,  in  order  to  satisfactory  blend- 
ing in  a  quartet  choir,  that  all  the  voices  shall  be  of  the  same 
general  tone-color.  The  composer  for  the  orchestra,  and  the 
organist,  study  the  combining  of  instruments  and  stops  of 
different  colors  so  as  to  secure  special  richness,  or  brilliancy. 
So  a  bright,   vibrant   tenor  voice   is   sometimes   needed  in  a 


ORGANIZATION.  11 

quartet  where  the  baritone  is  of  a  rather  sombre  quality.  The 
one  voice  complements  the  other,  is  modified  by  it.  In  the 
same  way  a  rather  acid  soprano  may  be  sweetened  somewhat 
and  blend  surprisingly  well  with  a  contralto  of  a  soft,  sombre, 
enveloping  quality  of  tone. 

It  is  evident  that  in  choosing  voices  for  their  blending 
qualities  there  is  an  opportunity  for  the  exercise  of  a  fine  sense 
of  tone-color.  Those  who  have  charge  of  the  organization  and 
drilling  of  choirs  would  do  well  to  study  the  characteristic 
timbres  of  the  human  voice  from  its  lowest  to  its  highest 
registers  ;  and  also  the  qualities  of  organ  stops  and  orchestral 
instruments,  singly  and  in  combination. 


12  CHOIR    AND    CHOaUS    CONDUCTIXG. 


Chapter  II. 

The  Quintet  Choir* — Occasionally  it  is  useful  to  have  the 
services  of  both  a  bass  and  a  baritone,  in  connection  wdth  a 
quartet  choir.  There  is  one  leading  director  in  the  Eastern 
States  who  is  fond  of  this  combination,  and  makes  special 
arrangements  of  five-part  music  for  its  use. 

The  Double  Mixed  Quartet  ( Octet  )♦ — A  choir  of  eight 
voices  made  up  of  Mixed  Quartets,  Nos.  1  and  2  above  men- 
tioned, is  one  of  the  most  effective  combinations  possible  for  a 
church  service  in  which  solo  singing,  sti'ong  hymn  leading  and 
a  varietj^  of  concerted  work  is  desired.  From  this  combination 
a  director  may  organize  :  Two  mixed  quartets,  a  female  quartet, 
a  male  quartet.  If  well  chosen  as  to  blending,  the  full  com- 
bination will  have  sufficient  sonority  to  give  a  satisfactory 
interpretation  of  many  of  the  larger  anthem  forms.  Eight 
good,  well  blended  and  thoroughly  ti^ained  voices,  in  such  a 
combination,  mil  give  much  more  breadth  of  tone,  and  musical 
satisfaction  generally,  than  Tvdll  double  the  number  of  ordinary 
chorus  singers.  It  is  not  necessary  that  these  singers  shall  be 
especially  fine  soloists  in  order  to  obtain  the  best  effects  in 
concerted  singing.  The  double  quartet  need  not,  therefore, 
represent  exactly  double  the  expense  of  the  exceptionally  fine 
solo  quartet.  One  of  the  quartets  may  consist  of  less  experi- 
enced singers,  yet  the  combined  effect  under  a  competent 
trainer  be  verj^  good.  The  greatest  care,  however,  must  be 
exercised  in  regard  to  the  items  of  balance  and  blend  of  voices, 
as  above  set  forth,  or  best  results  cannot  be  expected. 


ORGANIZATION.  18 


Chaptek  III. 


The  Choir  of  Boys  and  Men* — This  form  of  choir,  in 
which  the  treble  and  sometimes  the  alto  part  is  sustained  by 
boys  whose  voices  have  not  changed,  while  men  sing  the  tenor 
and  bass  parts,  is  in  favor  in  the  Episcopal  Church.  It  is 
generally  or  rather  popularly  known  as  the  Boy  Choir.  As  a 
rule  this  type  of  choir  is  not  a  success,  musically,  because  the 
boys'  voices  are  not  properly  or  sufficiently  trained.  Extremists 
assert  that  only  by  such  a  choir  can  the  Music^il  Service  be 
rightly  given.  Others  find  the  boys'  voices  inadequate  to  a 
proper  interpretation  of  parts  of  the  Service.  Laying  aside 
this  debated  question,  and  assuming  that  a  Boy  Choir  is 
wanted,  it  may  be  said,  and  with  emphasis,  that  only  one  who 
thoroughly  understands  the  training  of  the  female  voice  should 
be  entrusted  with  the  formation  and  drill  of  such  a  choir. 
Given  such  an  instructor,  he  will,  of  course,  find  his  material 
wherever  he  can  ;  in  the  Sunday  School,  the  public  school,  the 
private  family. 

It  is  of  little  use,  in  America,  to  endeavor  to  organize  a 
Boy  Choir  upon  a  purely  volunteer  basis.  The  best  plan  is  to 
pay  each  boy  a  stated  sum  per  rehearsal  and  service,  and  by  a 
system  of  bonuses  and  fines  reward  or  punish  him  in  connec- 
tion with  such  matters  as  attendance,  punctuality,  good  order, 
and  so  on.  The  best  voices,  as  a  rule,  come  from  the  homes  of 
the  moderately  well-to-do.  These  children  are  out  of  doors  a 
good  deal,  relatively  strong,  and  have  some  refinement,  which 
tells  favorably  upon  the  voice  quality.  The  average  American 
boy  is  an  energetic  mortal,  and  unless  he  is  checked  at  home, 
his  enthusiasm  upon  the  street  and  playground  operates  to 
injure  the  quality  of  his  voice. 

In  many  cities  and  towns  of  this  country  sight  singing  is 
taught  in  the  public  schools.     A  fair  degree  of  ability  in  note 


14  CHOIR    AND    CHORUS    CONDUCTING. 

reading  is  often  gained.  Where  the  teacher  of  the  room  or  in 
charge  of  the  music  lesson  happens  to  have  been  well-tanght 
vocally,  to  possess  a  musical  voice,  and  good  taste,  the  scholars 
at  least  do  not  injure  their  voices  in  the  sight-singing  work. 
Too  often  the  teaching  of  music  is  entrusted  to  one  who  lacks 
the  qualifications  enumerated.  City  Boy  Choir  masters  have 
learned  to  know  and  dread  the  public  school  tone  exhibited  by 
boys  whose  sight  singing  work  in  the  pubKc  schools  is  done 
under  a  grade  teacher  who  has  but  little  musical  knowledge, 
and  no  ear  for  good  tone  quality. 

In  some  choirs  of  boys  and  men  the  alto  part  is  sung  by 
men  who  use  a  kind  of  falsetto  tone  quality.  It  is  difficult  to 
find  a  boy-alto  voice  w^hich  has  sufficient  power  to  be  effective, 
and  at  the  same  time  is  of  pleasing  quality.  If,  however,  one 
is  likely  to  worry  over  difficulties  in  the  organization  and  man- 
agement of  a  Boy  Choir  he  had  best  not  take  up  the  work.  In 
the  nature  of  the  case,  the  choir  master  can  look  for  but  three 
or  four  years  of  good  service  from  boys  upon  whom  he  has 
spent  much  careful  effort.  At  the  change  of  voice,  the  choir 
boy  is  lost  to  the  choir.  He  may  re-appear  as  a  tenor,  baritone  or 
bass — he  may  not  even  have  a  voice  good  enough  for  choir  work. 

Only  what  is  known  as  the  Head-voice,  which,  to  the  boy, 
sounds  like  a  girl's  voice,  should  be  used  by  the  treble  boys. 
There  is  no  danger,  whatever,  in  having  both  small  boys  and 
girls  sing  high  tones,  provided  this  Head-voice  be  used.  Much 
power,  however,  cannot  be  looked  for.  There  is  intensity — 
carrying  power,  but  not  volume.  The  organizer  of  the  Boy 
Choir  must,  therefore,  provide  many  more  boys  than  men. 
Only  actual  test  of  the  voices  available  will  determine  the  pro- 
portionate numbers.  If  he  listens  to  the  choir  singing  an 
anthem,  stationing  himself  at  a  little  distance  from  them,  he 
will  get  at  the  matter  of  balance.  Obviously  the  leader  of  a 
Boy  Choir  must  be  constantly  on  the  lookout  for  new  material. 
If  he  is  wise  he  will  establish  some  sort  of  a  waiting  list,  or 
probationer's  class. 


ORGANIZATION.  15 


Chapter  IV. 

The  Chofus  of  Mixed  Voices^— A  choir  numbering  more 
than  eight  voices — the  Double  Quartet — may  be  called  a  Chorus 
Choir^ 

There  is  an  extensive  list  of  the  best  class  of  compositions 
for  use  in  the  church-service  which  cannot  be  adequately 
rendered  except  by  a  well-trained  chorus.  The  style  of  compo- 
sition is  such  that  several  voices  on  each  part  are  needed  to  give 
it  with  proper  breadth  and  dignity.  This  music  is  sometimes 
attempted  by  the  mixed  quartet,  but  the  performance  savors 
somewhat  of  burlesque. 

Many  wealthy  churches  in  America  now  pay  each  singer  of 
a  chorus  of  from  twenty  to  forty  voices,  and  engage,  in  addi- 
tion, a  good  solo  quartet.  Such  a  combination,  carefully 
organized,  and  under  competent  leadership,  is  equal  to  the 
finest  compositions  to  be  found  in  the  literature  of  church 
music,  and  gives  great  satisfaction.  As  a  rule,  a  second  mixed 
quartet,  a  male  quartet,  and  a  female  quartet  can  be  organized 
from  such  a  force,  on  the  lines  heretofore  indicated.  The 
church  and  the  director  possessing  such  resources  are  to  be 
congratulated. 

In  organizing  a  church  choir,  whether  paid  or  voluntary, 
the  items  of  balance  and  blend  must  receive  due  attention.  If 
the  chorus  is  to  number  sixteen  or  less,  it  may  sometimes  best 
be  made  up  on  the  quartet  basic,  that  is,  twelve  voices  means 
three  singers  on  each  part.  Care  should  be  taken  to  secure  at 
least  one  quartet  of  full,  low  voices,  as  was  indicated  in  treating 
of  the  Double  Quartet. 

In  a  chorus  choir  of  say  twenty-five  singers,  the  bass 
should  number  seven,  the  soprano  eight,  and  tenor  and  alto  five 


16 


CHOIR    AND    CHORUS    CONDUCTING. 


each.  Here  it  must  again  be  pointed  out  that,  owing  to 
great  differences  in  voices  as  to  sonority,  nothing  short  of 
actual  test  in  the  singing  of  an  anthem  will  enable  the 
Director  to  know  w^hether  he  has  secured  a  good  balance  of 
tone.  It  will  usually  be  found,  however,  that  the  bass  and 
soprano  must  average  a  larger  number  of  voices  than  the  other 
divisions  if  these  parts  of  the  compositions  sung  are  to  have 
due  effect.  Few  organizers  realize  the  importance  of  securing 
a  solid  bass.  AVhen  this  division  is  sufficiently  powerful,  and 
sings  with  firmness,  the  music  has  a  solidity  highly  gratifying 
to  the  cultivated  ear.  There  is  also  much  less  danger  of 
flatting.  Too  often  chorus  choir  singing  has  the  effect  of  a 
vocal  trio,  (  soprano,  alto  and  tenor, )  with  the  pedal  organ 
filling  in  the  bass  which  the  voices  fail  to  supply. 

Herewith  is  given  : — 

A  Table 

Showing  Compass  of  Chorus  Voices  ;  Also  Kange  of  Best  Notes. 

Actual  pitch  is  indicated. 

Compass.  Best  Notes. 


High  ( lyric  )  Soprano. 


m 


^^ 


High  Mezzo-Soprano. 
(Commonly  called  Soprano.) 


a: 


2 


^ 


Low  Mezzo-Soprano. 
(  Mezzo-Contralto. ) 


Contralto. 


PiP^N=5^ 


:^ 


P^P 


ORGANIZATION. 


17 


High  ( lyric  )  Tenor. 


Low  Tenor. 


Baritone. 


,.=^^^3^ 


e^J^M^N 


W 


m 


Note. — There  may  be,  in  any  chorus,  exceptional  voices  in  each  class,  of 
a  range  exceeding  the  limits  here  indicated.  Cultivation  and  practice  will 
bring  to  many  voices  increase  of  range  and  of  sonority.  Young  voices  develop 
in  surprising  ways,  and  it  is  therefore  advisable  for  the  choir  director  to  make 
frequent  examinations  of  voices  and  re-classifications  of  his  forces.  Let  it  be 
distinctly  understood  that  this  table  applies  only  to  average  chorus  voices, 
and  not  to  solo  voices.  Best  notes  are  those  tones  in  a  voice  which  can  be 
sung  with  power,  and  for  a  considerable  time  without  fatigue.  On  these 
notes  intonation  is  most  certain,  and  clearness  and  smoothness  in  delivery  is 
most  easily  attained. 

The  classification  of  voices  is  a  matter  of  knowledge  and 
skill  upon  the  part  of  the  examiner.  The  division  to  which  a 
voice  belongs  is  not  to  be  decided  upon  the  item  of  compass 
alone  ;  but  the  chief  point  is  to  discover  the  natural  timbre  and 
level  of  the  voice.  Sometimes  lyric  or  high  sopranos  are 
exceeded  in  upward  range  by  mezzo-sopranos,  but  their  natural 
tone  quality  or  timbre,  light  and  flute-like,  bird-like,  together 
with  their  facility  in  runs  and  scales^  and  power  to  sing  for 
a  considerable  time  above  third  space  C  freely  and  easily, 
shows  their  class  ;  Lamperti,  the  elder,  says  : 

''A  soprano  may  be  recognized  by  the  facility  with  which 
the  upper  G  is  emitted  ;  no  difficulty  will  be  experienced  in 
enunciating  words  on  the  highest  notes,  nor  in  holding  a  long 
breath  upon  them.     This  is  the  crucial  test,  because  there  are 


18  CHOIR    AND    CHORUS    CONDUCTING. 

sometimes  contraltos  that  can  sing  up  to  the  high  C,  but  they 
cannot  pronounce  words  on  the  upper  notes  without  f'ffort  and 
great  detriment  to  the  voice.  ^^  The  above  test  of  ease  in  pro- 
nunciation and  ability  to  hold  a  tone  for  a  long  time,  at  a  high 
pitch,  should  also  be  applied  to  male  voices.  A  baritone  may 
be  able  to  sing  high  A  at  a  climax,  but  this  does  not  prove  him 
a  tenor.  Many  tenors,  through  lack  of  proper  cultivation,  are 
unable  to  sing  rightly  from  D  upward,  and  so  can  scarcely 
reach  the  high  G  except  with  great  effort.  Such  may  well  be 
classed  with  low  tenors  or  baritones,  notwithstanding  that  their 
lower  notes  may  be  comparatively  weak.  In  America  mezzo- 
sopranos  and  baritones  predominate ;  there  are  more  high 
sopranos  than  tenors  or  low  basses. 

The  actual  classifying  of  voices  is  best  done  in  private, 
each  voice  being  examined  separatelj^  The  tricks  that  voices 
play  mth  their  owners,  under  the  nervous  strain  of  an  exami- 
nation, are  manifold  and  odd,  and  the  examiner  must  be  on 
the  alert  to  guard  against  being  misled  as  to  the  real  nature  of 
the  voices  he  listens  to.  A  pleasant,  friendly,  cheerful  manner, 
on  the  part  of  the  examiner,  is  most  helpful  in  this  connection. 
If  the  candidate  can  be  made  to  feel  and  act  naturally — to 
permit  the  real  voice  to  show  itself  under  the  influence  of  a 
friendly  chat,  and  a  pleasant  smile,  the  result  will  be  satisfactory. 

Where  for  reasons  it  is  necessary  to  classify  voices  from  the 
mass,  in  the  rehearsal  room,  there  is  perhaps  less  nervousness 
on  the  part  of  the  candidates,  but  the  task  of  the  examiner  is 
made  somewhat  more  difficult.  He  may  walk  about  among 
his  singers  while  the  test  exercises  are  being  sung,  noting  the 
characteristics  of  the  voices  as  he  passes,  and  later  assigning 
parts.  Or,  he  may  call  up  a  number  of  male  or  female  singers, 
indiscriminately,  listen  to  their  singing,  and  assign  parts  at 
once.  A  finer  subdivision  can  be  made  later  by  taking  members 
from  each  division  in  fours,  and  putting  them  through  the 
tests. 


ORGANIZATION. 


19 


Voice-Classification  Tests^ 


No*  J.  Moderato 


Lah,    lah,  lab,  lab, 


Lab,  lab,  lab,    lab,    lab,    lab. 


No,  3. 

V      V      V 


No.  4. 


i 


^ 


a 


^ 


e 


\^      \^      ■■^'      v^r      .^1 

12     3    4    5 


lah,        lah, 


Lah,  lah,  lah,      lah,       lah. 


No.  5. 


al 


^ 


:fe 


^ 


ab,  lab,  beb,  nee,  po,  too.         Lab,  beb,  nee,  po,  too, lab,  beb,  nee,  po,  too. 


Note. — These  test  exercises  should  be  used  from  the  lowest  pitch  given 
for  each  class  of  voice,  and  worked  chromatically  upward  to  the  limit  of  the 
voice  as  it  appears.  The  syllable  ' '  lah  ' '  should  be  made  without  movement 
of  the  jaw  ;  the  face  should  wear  a  pleasant  expression  and  the  upper  part  of 
the  body  should  be  bent  slightly  forward.  The  arpeggio  and  skip,  are  of  far 
more  value  than  the  scale  in  bringing  out  the  true  character  of  the  voice. 
The  syllable  "lah,"  done  as  directed,  has  also  a  special  value  in  this  connec- 
tion. Exercises  Nos,  4  and  5  furnish  material  for  the  use  of  tests  recommended 
by  Lamperti.  Necessarily  the  pronunciation  of  the  syllables,  to  have  any 
value  as  a  test  for  the  purpose  in  hand,  must  be  attempted  with  rapidity, 
distinctness  and  smoothness  in  view.  The  pause  will  prove  the  ability  of  the 
singer  to  prolong  a  high  note. 


20  CHOIR    AND    CHORUS    CONDUCTING. 


Chapter  V. 

Having  completed  tlie  ciassification  of  voices  the  Choir 
Director  may  find  that  the  parts  do  not  balance.  This  defect 
must  be  remedied  if  the  best  grade  of  work  is  to  be  done,  It 
is  not  well  to  have  too  many  light,  high  sopranos.  The  lower, 
fuller,  richer  voices  of  the  sopranos  and  mezzo-sopranos  have  a 
special  value  in  giving  body  and  color  to  the  tone  of  the  Choir. 
As  a  rule,  in  America,  the  greatest  lack  in  chorus  choirs  is  that 
of  a  sufficient  body  of  tone  in  the  tenor.  A  skilful  director 
will,  in  favorable  passages,  reinforce  his  tenor  parts  b}^  using 
the  lowest  voices  among  the  contraltos  in  combination  with  the 
tenors.  He  will  also  constantly  listen  to  his  baritones  with  the 
hope  that  one  or  more  of  them,  under  cultivation,  may  give 
signs  of  added  freedom  and  true  tenor  qualit}^  on  the  upper 
notes,  and  become  available  for  the  tenor  division. 

Frequently,  in  volunteer  choirs,  there  is  difficulty  in 
securing  a  sufficient  number  of  altos,  ladies  having  the  idea 
that  the  alto  part  is  of  secondary  importance,  or  that  it  is 
especially  difficult,  often  preferring  to  strain  to  sing  the  upper 
notes  of  the  soprano  part,  rather  than  to  join  the  alto  division. 
The  Director  may  effectively  combat  these  notions  by  pointing 
out  that  the  alto  part  is  of  equal  importance  with  the  soprano  ; 
that  the  harmony  is  incomplete  without  it.  He  may  also  refer 
to  the  advice  of  gi-eat  composers  to  students  of  music  to  learn 
to  sing  and  play  the  second  part  for  the  sake  of  musicianship  ; 
of  cultivating  the  harmonic  sense.     Schumann  has  said  : 

' '  Lose  no  opportunity  of  playing  music,  duos,  trios,  etc. , 
with  others. 

' '  If  all  were  determined  to  play  the  first  violin,  we  should 
never  have  a  complete  orchestra. 


ORGANIZATION.  21 

' '  Sing  in  choruses  industriously,  especially  the  middle  voices. 
This  will  make  you  a  good  reader,  and  intelligent  as  a 
musician.'^ 

As  a  means  of  discovering  material  for  the  alto  division 
the  Chorus  Director  may  require  all  the  sopranos  to  sing  the 
alto,  while  the  soprano  part  is  played  firmly  upon  an  instru- 
ment. While  this  is  being  done  he  should  listen  for  those 
singers  among  the  sopranos  who  easily,  and  with  some  force  of 
tone  reach  the  A; 


i 


w= 


and  who,  while  perhaps  making  errors  in  reading  the  alto  part, 
show  a  disposition  to  make  a  '  '■  second ' '  which  harmonizes 
with  the  instrument.  Such  voices  can  usually  be  transferred 
to  the  alto  division  with  good  results. 

A  careful  study  of  the  table  of  ' '  Best  Notes ' '  of  chorus 
voices  will  bring  many  suggestions  as  to  the  proper  make-up  of 
an  effective  choral  body.  As  has  akeady  been  hinted,  a  judi- 
cious mixture  of  the  various  classes  of  voices  is  desirable,  as  in 
this  way  fulness  of  tone,  and  richness  of  color  is  obtained. 
A  multiplication  of  the  number  of  baritones,  for  instance,  may 
give  bass  enough  to  balance  the  other  divisions  of  the  chorus, 
but  the  bass  will  lack  the  depth  and  richness  it  would  possess 
were  some  of  the  baritones  withdrawn,  and  a  few  low  basses 
added  in  their  stead.  It  is  the  difference  between  the  eight- 
foot  and  the  sixteen-foot  tone  of  the  pipe  organ. 

The  remarks  made  heretofore,  with  reference  to  blending, 
apply  in  the  organization  of  a  chorus  choir.  It  should  be 
remembered,  however,  that  where  most  of  the  voices  of  a 
division  of  a  chorus  are  of  a  good  blending  quality,  little 
roughnesses  in  a  few  individual  voices  will  be  absorbed  or  lost 
in  the  mass  of  tone. 


22  CHOIR    AND    CHORUS    CONDUCTING. 

Some  organizers  think  it  desirable,  even  necessary,  to  have 
what  is  called  a  leading  voice  for  each  division  of  a  chorus.  If 
a  voice  leads  in  such  a  way  as  to  be  heard  above  all  the  other 
voices  of  its  division,  then  the  balance  and  the  blend  of  the 
choir  is  destroyed.  The  highest  type  of  choral  singing  is  not 
possible  for  the  choir,  so  long  as  the  leading  voice  is  retained. 

A  certain  conductor,  about  to  perform  the  '  ^  Messiah ' '  in 
an  American  city,  feared  for  the  promptitude  and  firmness  of 
his  tenor  di^dsion  of  thirtj^  singers.  At  the  last  moment, 
therefore,  he  engaged  the  services  of  a  local  quartet  tenor,  who 
was  a  ready  reader,  to  lead  the  tenors.  This  gentleman  w^as 
powerful  of  phj^sique  and  lung,  and  loved  to  sing.  He  was  a 
German,  a  butcher,  and  his  command  of  English  not  of  the 
best.  The  audience  was  therefore  more  amused  than  edified 
to  hear  one  stentorian  tenor  voice  declaiming,  high  and  clear 
above  chorus  and  orchestra, 

' '  AU-l  vee  ligh  scheep  !  All-1  vee  ligh  scheep  ! ' ' 

It  is  certainly  a  matter  of  comfort  to  conductor  and  chorus 
to  know  that  there  are,  in  each  division,  singers  who  can  be 
depended  upon  to  sing  the  right  notes,  at  the  right  time,  and 
in  the  right  way.  What  is  desirable  is  not  a  leading  voice,  in 
the  common  acceptation  of  the  term,  on  each  part,  but  that  all 
the  singers  of  each  division  shall  follow  the  conductor's  lead, 
promptly  and  accurately,  singing  as  one  great  soprano,  alto, 
tenor,  or  bass  voice,  as  the  case  may  be.  No  listener  of  culti- 
vated taste,  and  no  choral  Director  worthy  of  the  name,  desires 
to  hear  one  singer  strike  in  always  just  before  and  louder  than 
everybody  else,  in  the  attempt  to  lead. 


ORGANIZATION.  23 


Chapter  VI. 

Circumstances  must  govern  the  choice  of  plan  for  securing 
material  for  the  chorus  choir. 

Where  an  appropriation  is  made  from  which  each  singer  is 
to  be  paid,  the  problem  is  comparatively  simple.  Advertising, 
and  personal  inquiry  among  teachers  of  singing  and  singers, 
will  usually  develop  a  sufficient  number  of  satisfactory  voices. 
Most  American  students  of  singing  are  willing  to  sing  in  a 
chorus  choir  for  pay.  The  power  of  the  dollar  to  change 
opinions  as  to  the  propriety  of  singing  in  chorus  is  magical. 

While  on  this  topic  t\^o  statements  may  be  made  : 

First. — The  tdkcher  of  singing  who  condemns,  without 
reserve,  chorus  singing  for  vocal  students,  thereby  confesses 
ignorance  of  chorus  work,  and  also  a  lack  of  confidence  in  his 
own  teaching. 

Second. — Well  taught  vocal  students  who  have  passed  the 
primary  stages  of  instruction,  when  singing  in  chorus  under  a 
Director  of  fine  taste  who  understands  the  voice,  can  come  to 
no  harm,  vocally,  and  will  benefit  musically  by  the  experience. 

In  cases  where  the  Director  is  expected  to  organize  his 
chorus  upon  a  voluntary  basis,  several  plans  are  open  to  him. 

When  the  interest  of  the  pastor  and  leading  members  of 
the  congregation  can  be  enlisted,  it  is  sometimes  possible  to 
form  a  voluntary  chorus  from  among  the  younger  members  of 
the  representative  families  of  the  church.  As  a  rule,  however, 
such  a  membership  is  difficult  to  manage  in  the  matter  of 
regularity  of  attendance  and  punctuality.  The  claims  of 
society  interfere  with  those  of  the  choir. 

Young  people  who  are  members  of  the  congregation  may 
naturally  be  expected  to  have  a  stronger  interest  than  outsiders 


24    .  CHOIR    AXD    CHORUS    CONDUCTING.  ' 

in  sustaining  the  musical  service  of  the  church,  and  it  is  there- 
fore wise  to  recruit  the  chorus,  so  far  as  possible,  from  the 
young  people  connected  with  the  church. 

The  principal  feeders  for  the  voluntary  chorus  choir  ai^ 
the  Singing  Class,  and  the  Sunday  School.  It  is  sometimes  a 
good  plan  for  the  Director  to  establish  a  class  in  sight-singing 
for  the  congregation,  mthout  fee,  if  thereb}^  he  can  ti-ain  and 
secure  material  for  his  chorus  choir.  In  most  congregations 
may  be  found  a  number  of  j^oung  men  and  women  who  would 
take  advantage  of  an  opportunity  to  learn  to  read  notes  in  an 
evening  class.  A  general  class  for  the  congregation,  old  and 
young,  has  in  certain  cases,  been  carried  on,  one  evening  each 
week,  for  two  terms  of  ten  weeks  each,  during  the  winter.  A 
simple  text  book  has  been  used,  with  a  black-board,  and  the 
interest  of  the  class  well  sustained,  so  that  an  exhibition  of 
sight-reading  of  music  equivalent  in  difficulty  to  the  ordinary 
modern  hymn  tune,  has  been  given  at  the  close  of  the  term. 
The  result  of  such  a  work  has  been  to  prepare  a  number  of 
young  men  and  women  for  singing  in  the  chorus  choir  of  the 
church.  Another  result  has  been  the  revival  of  interest  among 
the  older  people  in  the  congregational  hymn  singing. 

The  Director  of  a  voluntary  chorus  choir  will  do  well  to 
take  charge  of  the  music  in  the  Sunday  School,  and  make  him- 
self pleasantly  acquainted  with  the  young  men  and  women  he 
finds  there.  He  Tsdll  thus  come  to  know  of  available  choir 
material  of  which  he  would  not  be  likely  to  learn  in  any  other 
way. 

Another  plan  for  securing  good  material  for  a  chorus  choir 
is  to  advertise  and  to  promise  that  a  portion  of  the  time 
at  each  rehearsal  shall  be  given  to  sj^stematic  class  instruction 
in  voice  culture  and  the  art  of  singing.  This  promise  must,  of 
course,  be  faithfully  kept.  There  are  those  who  maintain  that 
nothing  of  value  in  the  way  of  cultivation  of  the  voice  can  be 
done  in  class.     It  is  true  that  for  the  highest  results,  individual 


ORGANIZATION.  25 

instruction  in  the  use  of  the  voice  is  necessary^  A  voice 
trainer  who  has  thought  out  the  principles  upon  which  he  works 
can,  however,  prepare  exercises  in  the  two  or  three  funda- 
mentals of  voice  culture,  (  such  as  control  of  the  breath,  relax- 
ation and  freedom  of  the  throat,  tongue  and  face ;  and  vibi-ation, 
or  resonance  )  which,  practiced  carefully  under  his  supervision, 
will  improve  the  tone  production  of  at  least  a  majority  of  his 
class. 

The  promise  of  such  instruction,  and  of  the  rehearsal  and 
performance  of  a  good  class  of  music,  will  usually  do  much  to 
attract  desirable  singers. 


Chapter  YII. 


Whether  the  chorus  choir  be  paid  or  voluntary,  it  should 
have  but  one  head — the  Director. 

Experience  teaches  that  in  choir  management  the  authority 
should  rest  upon  the  shoulders  that  bear  the  responsibility. 
The  Choir  Director  should  take  for  his  motto  : — ''  No  responsi- 
bility without  corresponding  authority."  A  chorus  choir  with 
a  constitution  and  bj^-laws,  a  set  of  officers  and  of  committees 
on  membership,  music,  etc. ,  etc. ,  elected  by  the  choir,  is  practi- 
cally a  ' '  society  for  the  prevention  of  the  peace  and  efficiency 
of  Choir  Directors."  Such  officers  and  committees  as  are 
necessary  should  be  appointed  by  the  Director,  and  he  should 
also  make  the  required  rules. 

That  he  should  exercise  intelligence  and  caution,  and  study 
his  people,  and  the  special  circumstances  under  which  he 
labors,  goes  almost  without  saying.  A  volunteer  chorus  choir 
is  practically  a  little  kingdom,  ruled  by  an  autocrat  who  yet 
must  obtain  and  retain  the  consent  of  his  subjects  to  his  govern- 
ment.    The  head  of  such  an  organization  holds  an  extremely 


26  CHOIR    AND    CHORUS    CONDUCTIXG. 

difficult  position.  He  can  best  retain  it  by  doing  everything 
possible  to  secure  the  respect  and  good  will  of  his  choir  mem- 
bers, while  maintaining  to  the  utmost  the  dignity  of  his  office. 
The  glove  must  cover  the  fingers  of  steel.  On  all  matters  of 
choir  management,  as  upon  questions  of  musical  interpretation, 
his  word  must  be  law.  If  he  caii  make  his  membership  realize 
that  his  one  concern  is  for  the  music  ;  that  all  he  does  is  A^ith- 
out  personal  prejudice,  with  no  thought  of  merel}^  having  his 
ow^n  wa3%  but  with  an  eye  single  to  the  best  possible  musical 
results,  he  will  have  but  little  trouble  in  keeping  up  his  organi- 
zation, and  maintaining  his  rightful  position  as  head  thereof. 
He  is  sure  to  meet  with  a  few  "  irreconcilables  "  whose  motto 
is  "  rule  or  ruin."  No  mercy  should  be  shown  to  such.  They 
should  be  dropped  without  hesitation,  and  before  they  have 
had  time  to  demoralize  the  membership.  Such  are  found  at 
times  amongst  the  best  singers,  who  cannot  well  be  done  with- 
out. It  is  far  better  to  suffer  their  absence  than  their 
mischievous,  disquieting,  disintegrating  presence.  Besides^ 
every  director  of  experience  knows  that  the  singer  has  not  yet 
been  born  whose  presence  is  vital  to  the  existence  of  a  chorus 
choir.  An  exhibition  of  dignified,  courteous  independence  on 
the  part  of  a  choir  director  has  been  known  to  reform  even  a 
supposed  ' '  irreconcilable. ' ' 

Volunteer  chorus  choir  singers  are  not  always  humble, 
^ '  preferring  one  another. ' '  They  sometimes  prefer  to  sit ' '  in 
the  highest  seats  ' '  where  others  have  been  sitting.  The  choir 
seat  question  has  occasioned  much  jealousy,  and  some  trouble 
for  choir  directors.  A  good  plan  is  to  change  the  seating  of 
the  choir  at  stated  intervals,  SRy  e^  ery  two  months.  A  success- 
ful choir  director  has  made  it  a  rule  to  advise  every  member  of 
his  volunteer  chorus  that  possession  for  a  length  of  time  gave 
no  title  to  a  particular  seat ;  that  no  member  of  the  choir 
''owned"  any  seat,  but  each  was  seated  at  the  request  of  the 
director. 


ORGANIZATION.  27 


^JHAPTER   VIII. 

What  shall  be  the  tests  or  conditions  for  entrance  into  the 
chorus  choir  ?  In  this  matter  the  Director  will  necessarily  be 
governed  somewhat  by  circumstances. 

He  must  take  into  account  the  grade  of  service  expected 
of  him.  If  no  sight-reading  test  is  adopted,  with  a  view  to 
barring  out  no  singer  whose  voice  is  acceptable,  good  work  may 
be  done  on  occasion  by  dint  of  an  enormous  expenditure  of 
time  and  labor.  As  a  chain  is  no  stronger  than  its  weakest 
link,  so  the  non-readers  of  a  chorus  choir  are  the  measure  of 
the  strength,  (or  rather,  weakness)  in  performance,  of  the 
organization.  No  matter  how  much  labor  may  be  expended 
upon  the  service  music  for  Sunday,  there  can  be  no  certainty 
that  one  or  more  of  the  non-readers  will  not  make  a  false  entry, 
or  sing  wrong  notes,  and  make  discord  where  there  should  be 
harmony.  It  is  frequently  the  case  that  singers  with  good 
voices  and  genuine  talent  are  poor  readers  of  notation.  Their 
very  gifts  have  operated  to  cause  them  to  neglect  the  study  of 
sight-reading.  Many  salaried  quartet  singers  are  such  poor 
readers  that  they  are  constantly  in  fear  of  a  sudden,  though 
necessary  change  in  the  service  numbers,  and  always  beg  for 
^'next  Sunday's  music"  a  week  ahead.  This  is  not  as  it 
should  be.  Thoroughly  competent  choir  directors  who  have  a 
voice  in  the  engagement  of  soloists  are  more  and  more  giving 
the  preference  to  ready  music-readers.     Who  can  blame  them  ? 

Where  a  choir  director,  in  order  to  secure  a  sufficient 
supply  of  acceptable  voices,  makes  no  test  of  sight-reading,  he 


28  CHOIR    AND   CHORUS    CONDUCTING. 

can  only  hope  to  do  good  work,  in  comfort,  by  converting  his 
choir  into  a  singing  class  and  giving  systematic  instruction  in 
note-reading. 

As  will  be  inferred  from  what  has  been  said  in  regard  to 
balance  and  blend  of  tone,  an  examination  of  the  voice  as  to 
quality,  power  and  compass  should  be  insisted  upon  as  a  condi= 
tion  of  admission.  Otherwise  a  choir  is  likely  to  be  burdened 
with  ''dead-wood,"  meaning  thereby  ineffective  and  objection- 
able vocal  material.  It  seems  to  be  ordered  by  the  fates  that  the 
worst  singers  shall  be  the  most  faithful  members  of  volunteer 
chorus  choirs.  Sometimes  the  personal  relationships  of  certain 
ineffective  choir  members  make  it  very  difficult  for  the  Director 
to  dispense  with  their  services.  Yet  he  can  never  expect  to  do 
good  work  while  carrying  a  load  of  ' '  dead-wood. ' '  The 
nominal  strength  of  the  choir  may  be  sixty  voices,  and,  looking 
upon  the  aggregation  of  singers,  the  congregation  will  expect 
a  volume  of  tone  proportionate  to  the  forces  engaged.  They 
will  be  disappointed  ;  and  congregations  are  not  more  back- 
ward in  criticising  the  work  of  the  choir  and  choir  director 
than  they  are  in  making  remarks  upon  the  minister's  sermons. 

There  is  also  a  danger  that  the  really  effective  singers  in 
the  chorus  will  tire  of  the  many  repetitions  at  rehearsals  made 
necessary  by  the  inefficiency  of  the  dead-wood,  and  withdraw. 
On  the  whole,  it  is  better  not  to  adanit  dead-wood,  or,  in  case 
much  of  it  is  found  in  a  choir  when  first  taken  charge  of,  to 
eliminate  it  at  once  and  risk  resulting  criticism  and  antagonism. 
Of  course,  where  there  is  a  chance  that  present  dead-wood 
may,  by  instruction  in  sight-singing  and  the  principles  of  voice- 
use,  be  converted  into  live,  useful,  vocal  timber,  the  Director 
will  wait  and  work. 

Those  who,  not  having  voices,  persist  in  trying  to  sing  ; 
those  whose  voices  have  been  worn  out  in  the  service  ;  those  who 
have  radically  defective  voices,  are  so  much  dead  wood.  It  is 
a  sad  fact  that  those  chorus  gingers  who  have  ' '  lost  the  voice 


ORGANIZATION.  29 

they  had ' '  are  the  very  last  persons  in  the  world  to  recognize 
their  condition.  No  mere  hint  will  bring  them  to  a  realizing 
sense  of  it.  With  such  the  Director  must  have  a  ''heart 
to  heart ' '  talk,  and  in  preparing  himself  for  it  he  will  need  to 
cultivate  patience,  perseverance  and  a  good  temper. 


Chapter  IX. 


An  intelligent,  popular  young  lady  or  gentleman  may  be 
appointed  as  Choir  Secretary.  The  Secretary's  duties  may  be 
to  keep,  in  duplicate,  a  register  of  membership,  properly  classi- 
fied, and  of  attendance  at  rehearsals  and  services.  One  copy 
will  be  in  the  Director's  possession,  for  his  use.  The  Secretary 
may  be  of  considerable  help  to  the  Director,  if  he  be  a  man  of 
good  judgment  and  sympathetic  nature,  in  welcoming  members 
and  inquiring  after  delinquents.  It  is  best,  however,  for  the 
Director  to  keep  in  personal  touch  with  each  member  of  the 
choir  ;  and,  without  showing  the  least  partiality,  or  losing 
dignity,  demonstrate  that  he  knows  and  is  interested  in  every 
singer  under  his  care.  To  be  able  to  call  each  member  of  a 
large  chorus  choir  by  name  is  a  gift  worthy  of  cultivation. 
The  power  to  remember  names,  as  well  as  faces,  has  made 
many  friends  for  politicians.  And,  in  a  good  sense,  the  Director 
of  a  voluntary  chorus  choir  must  be  a  politician. 

Another  helpful  officer  is  a  Librarian,  who,  with  his 
assistant,  shall  keep  the  music  in  good  order,  and  distribute 
and  collect  the  same  at  rehearsals.  The  Director  should  never 
perform  this  duty.  It  is  not  proper  to  his  office.  It  would  be 
wise  for  him  to  pay  for  this  work  rather  than  to  do  it  himself. 

Experience  teaches  that  these  two  officers,  under  the 
Director,  are  all  that  are  really  needed  in  the  carrying  on  of  the 
work  of  a  large  chorus  choir.     A  multiplicity  of   officers  and 


30  CHOIR    AND    CHORUS    CONDUCTING. 

committees  in  choir  work  breeds  trouble.  '  ^  If  you  want  a  thing 
well  done — do  it  yourself,"  is  a  saying  which,  applied  to  the 
conduct  of  the  affairs  of  a  chorus  choir,  has  in  it  more  truth 
than  poetry. 


Chapter  X. 


The  Choir  of  Children's  Voices  ( Boys  and  Girls  )♦ — A  well 
trained  choir  of  children's  voices  may  be  so  used  as  to  add 
greatly  to  the  interest  and  profit  of  a  church  service. 

There  is  an  ethereal  purity,  a  passionless  sweetness,  in  the 
tone  of  a  well-trained  children's  choir  which  is  powerful  to  stir 
the  hearts  of  the  people. 

Children's  voices  are  comparatively  weak.  A  children's 
choir,  therefore,  should  be  organized  with  a  view  to  securing 
delicacy  of  tonal  effect,  rather  than  breadth  and  force.  The 
author  does  not  share  the  opinion,  held  by  some  voice- trainers, 
that  the  child  voice  ought  not  to  be  used  on  high  tones.  The 
average  boy  or  girl  between  eight  and  fourteen  years  of  age, 
if  properly  taught  to  sing  softly  and  sweetly,  with  chest  up  and 
smiling  face,  vdW  develop  unconsciously  the  pure  Head- voice 
and  be  able  to  reach 


^ 


with  ease  and  beauty  of  tone.     If  children  are  allowed  to  use 
nothing  but  this  so-called  head-voice  down  to  the  lowest  notes 
of  their  compass,  there  can  be  no  forcing  of  the  voice. 
The  so-called  Chest-tone  given  out  on 


^ 


ORGANIZATION.  31 

by  some  child  singers  is  not  the  true  chest-tone,  but  a  throaty, 
forced  production  which  is  not  tone  but  noise,  and  is  destruc- 
tive to  throat  and  voice.  Such  power  as  is  desired  from  a 
childien's  choir  should  be  managed  chiefly  by  the  addition  of 
older  boys  and  girls,  as  their  voices  are  naturally  somewhat 
more  full,  or  sonorous,  than  those  of  children  of  few  years. 
Children  should  not  be  required  to  sing  long  at  a  time  in  the 
upper  third  of  their  vocal  scale.  The  greater  part  of  music  for 
children's  choirs  should  be  placed  in  the  octave 


i 


with  occasional  notes  within  a  third  or  fourth  higher  or  lower. 
Obviously  light,  graceful,  lyric  compositions,  of  a  proper  compass 
as  indicated,  with  short  phrases,  and  cheerful,  simple  sentiment, 
are  best  suited  to  the  use  of  a  children's  choir.  Simple  songs 
of  praise,  unison  carols,  or  songs  in  two  parts  treated  as  first 
and  second  treble  parts,  are  indicated.  If  it  is  desired  to  use 
children's  voices  in  the  performance  of  the  larger  and  more 
trying  forms  of  sacred  composition,  then  a  very  careful  selec- 
tion of  the  stronger  and  more  intelligent  children  should  be 
made.  These  should  receive  thorough  drill  so  that  they  may 
come,  unconsciously,  to  manage  breath  properly,  and  the 
Director  should  be  most  watchful  to  see  that  their  voices  are 
not  over- worked  at  rehearsals  or  services. 


32  CHOIR   AND   CHORUS    CONDUCTING. 


Chapter  XI. 

The  Choral  Society ♦ — The  history  of  choral  societies  in 
America  is  a  long  record  of  disappointed  hopes  and  ambitions. 
But  few  choral  societies  have  any  great  length  of  life.  The 
most  permanent  of  these  organizations  are  to  be  found  among 
the  German- American  communities.  These  music  lovers  com- 
bine the  social  with  the  musical  purpose ;  build  music  club- 
houses, and  expect  to  pay  for  music  just  as  they  expect  to  pay 
for  provisions.  It  is  to  them  one  of  the  necessities  of  life. 
American  singers  often  look  upon  choral  singing  as  something 
which  ought  not  to  cost  them  any  money,  or  as  a  proper  source 
of  revenue.  ' '  How  much  is  there  in  it  for  me  ? ' '  is  the 
question  frequently  asked  by  an  American  singer  who  has  been 
invited  to  join  a  choral  society" — meaning  not  how  much  of 
pleasure,  of  insti'uction,  of  mental  improvement  and  refine- 
ment, but  how  much  of  money — dollars  and  cents. 

The  choral  society  organizer  who  meets  with  such  a 
response  to  his  invitation  is  advised  to  drop  the  questioner  at 
once.  He  may  attend  a  few  rehearsals,  as  a  result  of  coaxing, 
but  he  cannot  be  depended  upon  ;  he  is  sure  to  be  absent  when 
most  needed.  He  is  also  advised  to  beware  of  the  enthusiast 
who  gushes  about  ' '  our  society ' '  and  the  w^onderf ul  things 
which  it  is  to  accomplish  through  somebody's  efforts.  If  a  dozen 
or  twenty  quietly  earnest  music  lovers  agree  to  meet  statedly 
for  the  practice  of  choral  singing,  possibly  at  first  at  a  private 
house,  there  is  ground  for  hope  of  a  permanent  organization, 
and  one  which  will  grow  in  numbers  and  efficiency.  A  little 
effort  will  develop  such  a  company  in  almost  any  American 
town  of  four  thousand  population. 

Much  of  what  has  been  said  regarding  the  organization  of 


ORGANIZATION.  33 

the  voluntary  chorus  choir  of  mixed  voices,  applies  to  the 
organization  of  the  choral  society.  The  shorter  the  constitu- 
tion and  by-laws,  the  fewer  the  oflSicers  and  committees,  the 
less  machinery,  the  better. 

A  President,  Vice-President,  Secretary-Treasurer,  and 
Librarian,  a  Committee  on  Membership  and  a  Committee  on 
Music,  Concerts  and  Soloists  (including  the  Conductor)  is 
sufficient  machinery  for  the  carrying  on  of  the  business  of  a 
large  choral  society. 

It  is  presumed  that  the  society  will  elect  its  officers  and 
committees,  annually,  at  the  last  meeting  of  each  season.  The 
choice  of  a  Conductor  is  best  left  to  a  committee  made  up  of 
the  officers  and  one  representative  from  each  of  the  four  divisions 
of  the  chorus. 

The  Secretary-Treasurer  should  present  a  full  report  to 
the  society  at  the  annual  meeting. 

The  officers,  with  the  Committee  on  Music,  Concerts  and 
Soloists,  may  form  a  Board  of  Managers,  or  Finance  Committee, 
for  the  financing  of  the  affairs  of  the  society. 

A  good  plan  for  organization  is  to  provide  for  three  classes 
of  members  : 

1st — Life  Members. 

These  to  pay  a  fixed  sum,  and  to  receive  a  certain  number 
of  seats  for  each  concert  and  privileges  in  the  way  of  attend- 
ance at  all  rehearsals. 

2d — Associate  Members. 
These  to  pay  an  annual  fee,  and  to  receive  therefor  a  cer- 
tain number  of   seats  for  each  concert,  and  the  privilege  of 
attending  special  (final  or  solo)  rehearsals. 

3d — Active  (singing)  Members. 
These  to  pay  an  annual  fee  (usually  higher  for  gentlemen 
than  for  ladies)   and   to  receive  therefor  the  benefit  of    the 


34  CHOIR   AND   CHORUS    CONDUCTING. 

instruction  at  the  rehearsals,  and  pleasure  from  the  concerts. 
In  some  cases  active  members  receive  complimentary  tickets 
for  final  (solo)  rehearsals.  In  other  cases,  active  members 
receive  one  complimentary  ticket  for  concerts.  These  are 
points  as  to  which  each  society  must  decide  for  itself  according 
to  circumstances. 

Where  active  members  pay  an  annual  fee,  the  society 
usually  supplies  copies  of  the  works  studied.  This  plan  is 
strongly  recommended,  for  where  members  purchase  copies  it 
is  often  found  that  some  fail  to  bring  music  to  rehearsals,  and 
considerable  inconvenience  results.  A  choral  society,  more- 
over, should  have  its  own  library,  as,  while  the  membership 
will  change,  the  society  may  persist,  and  works  will  be  per- 
formed several  times  within  a  series  of  years. 

Each  society  must  fix  its  own  tests  for  admission  to  singing 
membership,  as  circumstances  alter  cases.  The  advice  of  the 
Conductor,  however,  should  be  asked  and  given  great  weight 
in  this  regard. 

So,  too,  with  reference  to  the  work  of  the  committee  on 
the  choice  of  music,  concerts  and  soloists.  If  a  wise  choice  in 
the  matter  of  a  Conductor  has  been  made,  that  ofiicial  is  best 
able  to  judge  what  music  the  society  may  hope  successfully  to 
prepare  and  perform,  how  many  concerts  should  be  given  in 
one  season,  and  what  soloists  are  needed.  The  committee 
should,  therefore,  give  due  weight  to  the  Conductor's  opinion 
on  these  matters.  Indeed,  if  it  were  not  that  some  of  the  best 
Conductors  are  as  children  with  reference  to  finance,  it  might 
be  said  that  in  regard  to  the  questions  just  referred  to  there 
need  be  no  committee,  the  decision  resting  with  the  Conductor. 
Sad,  aye  most  sad,  yet  amusing  are  some  of  the  tales  that  are 
told  of  the  struggles  between  Conductors  and  Finance  Com- 
mittees of  choral  societies.  The  fault  is  by  no  means  always 
on  the  side  of  the  Conductor.  A  small-minded,  commercial, 
inartistic  committee-man  finds  it  difficult  to  sympathize  with 


ORGANIZATION.  35 

the  desire  of  an  enthusiastic,  artistic  conductor,  on  fire  with 
love  for  his  art,  who  wants  the  very  best  singers  that  can  be 
had  for  the  solo  parts,  and  all  the  instruments  called  for  in  the 
orchestral  score. 

A  Conductor  who  desires  to  organize  a  choral  society  must 
bear  in  mind  :  First — that  he  needs  to  make  many  friends  ; 
then  to  do  all  in  his  power  to  keep  them  ;  Second — that  he 
must  expect  active  opposition  from  other  professionals,  passive 
resistance  from  lazy  singers,  and  discouragement  from  a  con- 
siderable class  of  people  who  never  can  see  how  anvthino"  worth 
while  in  choral  music  can  be  done  in  their  community.  They 
are  sometimes  ' '  dog-in-the-manger  ' '  people  ;  usually  pessi- 
mists. This  last  mentioned  class  (  the  pessimists  )  are  perhaps 
the  most  dangerous  of  all.  They  should  be  carefully  kept  out 
of  the  ranks  of  the  society,  for  their  conversation  and  manner 
are  most  demoralizing.  One  such  member  can  do  more  to  kill 
a  society  than  half  a  dozen  enthusiasts  can  do  to  keep  it  alive. 
The  Conductor,  as  organizer,  should  bear  in  mind  that  the 
indolent  may  be  stirred  up  and  possibly  converted  into  willing 
and  effective  workers.  If  the  Conductor  is  made  of  the  right 
sort  of  material  the  pessimists  will  not  discourage  him,  while 
the  jealous  opposition  of  other  professionals  will  but  stir  him 
to  greater  efforts. 

When  the  co-operation  of  leaders  in  prominent  social  and 
musical  circles  can  be  secured,  the  task  of  organizing  a  choral 
society  is  comparatively  easy.  It  is  not  wise,  however,  to  rely 
upon  what  are  known  as  society  people  for  choral  material  or 
permanent  support.  The  great  majority  of  choralists  come 
from  the  ranks  of  those  who  are  moderately  well-off,  and 
whose  social  engagements  occupy  but  a  small  part  of  their  time 
and  attention.  Society  is  fond  of  fads  and  will  drop  a 
conductor,  or  an  enterprise  as  quickly  as  fashions  in  dress  are 
discarded. 

The  singing-class  can  frequently  be  developed  into  a  choral 


36  CHOIR   AND    CHORUS    CONDUCTING. 

society.     This  can  be  established  by  means  of   circular  and 
newspaper  advertising,  and  personal  canvassing. 

A  successful  choral  society  may  sometimes  be  organized  in 
a  minor  city  by  interesting  a  well-known  citizen,  and  issuing 
a  call  in  his  name,  and  that  of  the  Conductor,  through  the 
newspapers,  for  singers  to  rehearse  and  perform  a  standard 
oratorio.  The  work  chosen  should  be  one  generally  known,  at 
least  by  repute,  and  one  which  good  singers  are  likely  to  wish 
to  rehearse  for  the  sake  of  becoming  acquainted  with  the 
music. 


Part  II. 
THE  CHOIR  DIRECTOR. 


Chapter  I. 

One  who  manages,  drills  and  conducts  the  performance  of 
a  church  choir,  is,  in  America,  usually  called  a  Choir  Director. 
As  a  rule,  the  musical  head  of  a  choral  society,  the  one  who 
prepares  for  and  conducts  the  performances  thereof,  is  properly 
called  the  Conductor,  the  direction  of  the  affairs  of  such  a 
society  usually  devolving  upon  the  officers  and  committees 
elected  for  that  work. 

The  Choir  Director  is,  of  course  a  gentleman.  Whether 
he  be  a  ' '  professor  of  religion ' '  or  not,  he  will  respect  the 
religious  opinions  of  others,  and  by  his  demeanor,  prove  his 
good  breeding  and  fitness  to  act  as  a  leader  in  the  service  of 
song.  A  wise  clergyman  appreciates  a  Choir  Director  who 
shows  an  interest  in  the  public  service  in  all  its  parts.  A  wise 
Choir  Director  will  endeavor  to  cultivate  friendly  relations 
with  his  clergy. 


37 


38  CHOIR   AND    CHORUS    CONDUCTING. 


Chapter  II. 

The  true  teacher  loves  his  subject  and  has  a  consuming 
desire  that  others  shall  love  it.  To  such  a  one,  the  coming 
into  the  eye  of  the  pupil  of  the  gleam  of  awakened  interest  is 
at  once  reward  and  incentive  to  renewed  effort.  The  skilful 
drill  master  knows  his  subject,  and  how  to  present  it  in  such 
fashion  as  to  arouse  and  sustain  interest  on  the  part  of  his 
choir.  He  so  arranges  the  work  of  the  rehearsal  as  that  the 
singers  derive  pleasure  from  it,  even  though  they  may  be 
attacking  difficulties. 

In  real  teaching,  one  object  is  to  lead  those  taught  to  find 
out  for  themselves.  Telling  is  not  all  of  teaching.  The  funda- 
mental facts  should  be  presented  ;  the  thing  before  the  sign,  the 
easy  before  the  difficult,  from  the  kno\\Ti  to  the  unknown,  in 
progressive  order.  Pupils  learn  by  doing.  The  drill  master 
who  explains  too  much,  who  t-alks  a  great  deal,  wastes  time 
and  strength.  Better  make  necessary  statements  and  explana- 
tions as  brief  as  is  consistent  with  clearness  and  get  the  singers 
to  doing,  to  making  their  own  experiments,  observations, 
comparisons. 

To  educate  is  to  di^aw  out.  The  best  teaching  is  that 
which  so  prepares  a  student  that  he  knows  how  to  study. 
There  is  an  art  of  teaching  as  well  as  an  art  of  singing,  and 
choir  directors  do  well  to  study  the  literature  thereof,  and  as 
well  the  latest  works  on  applied  psj^cholog}^  The  best  grade 
of  work  in  the  rehearsal  room  is  not  to  be  stumbled  upon.  It 
is  the  result  of  a  natural  gift  for  leadership  and  teaching 
developed  by  study. 


THE    CHOIR   DIRECTOR.  39 


Chapter  III. 


As  the  choice  of  music,  its  rehearsal,  and  manner  of  per- 
formance are  matters  under  the  Director's  control,  he  cannot 
know  too  much  of  music  generally,  and  of  church  music  in 
particular.  Harmony,  counterpoint,  musical  form,  composi- 
tion and  the  history  and  literature  of  vocal  music  claim  his 
attention. 

The  usual  choir  drill  in  the  case  of  chorus  choirs  is  limited 
to  teaching  the  notes — that  is,  the  pitches,  and  the  time,  with 
more  or  less  attention  to  variation  of  power.  Much  more 
than  this  is  required  if  the  choral  work  is  to  be  of  the  highest 
grade. 

One  of  the  primary  requirements  of  good  singing  is  good  or 
musical  quality  of  tone.  The  quality  of  tone  produced  by  a 
chorus  choir  depends,  of  course,  upon  the  quality  produced  by 
the  individual  singers.  When  good  natural  voices  or  well- 
trained  vocalists  are  in  a  majority  the  tone  of  the  choir  may  be 
in  a  measure  satisfactory.  Usually,  however,  the  volunteer 
chorus  choir  contains  so  large  an  admixture  of  crude  vocal 
material  that  the  tone  quality  of  the  choir  is  far  below  what  is 
desirable.  These  same  voices,  under  proper  training,  can  be 
made  to  give  good  results.  It  is  plain,  therefore,  that  the 
chorus  choir  director  should  understand  the  human  voice,  and 
how  to  develop  and  cultivate  its  powers.  The  practical  method 
for  fitting  himself  for  such  work  he  will  find  to  be  to  study 
singing  personally  with  an  instructor  who  can  sing  and 
also  teach,  and  teach  how  to  teach.  The  Director  can  also 
supplement  his  knowledge  by  reading  the  works  of  experienced 
teachers  of  singing,  and  choir-trainers. 


40  CHOIR   AND    CHORUS    CONDUCTING. 


Chapter  IV. 

The  section  of  this  work  devoted  to  choir  organization 
contains  suggestions  as  to  the  attitude  of  a  Conductor  toward 
his  choir. 

In  the  rehearsal  room  the  successful  drill-master  is  court- 
eous, firm,  impartial,  tactful  and  patient.  He  is  the  leader,  the 
fount  of  instruction  and  the  only  one  permitted  to  exercise 
authority.  He  may  listen  to  suggestions  from  members  of  his 
choir  or  others  in  private  ;  he  should  permit  no  public  inter- 
ference with  his  authority  or  functions  by  choir  member,  music 
committee-man,  clergyman,  or  any  one  else. 

Preparation  for  the  work  of  each  rehearsal  cannot  be  too 
thorough.  The  use  of  every  moment  should  be  determined 
beforehand.  The  drill-master  will  find  it  profitable  to  spend 
some  minutes  immediately  before  each  rehearsal  in  quiet, 
reposeful  thought,  with  the  one  object  of  bringing  his  mind 
into  a  state  of  peace,  so  that  he  may  enter  the  rehearsal  room 
thoroughly  master  of  his  own  soul,  and  prepared  to  meet 
obstacles  and  opposition  with  serenity.  A  man  who  is 
master  of  himself,  who  knows  just  what  he  purposes  accom- 
plishing at  each  rehearsal,  and  exactly  how  to  set  about  to  do 
it,  has  a  tremendous  power  over  choralists.  The  high-strung, 
excitable  man,  who  leaves  his  working  plan  to  the  inspiration 
of  the  moment  or  decision  of  circumstances,  may  expend  a  great 
deal  of  effort  in  the  rehearsal  room,  but  results  will  be  unsatis- 
factory. 

In  carrying  out  a  season's  work  in  a  systematic  way,  the 
Director  will  find  it  advantageous  to  make  for  his  private  use, 
from  an  ordinary  memorandum  book,  a  Conductor's  Eecord 
Book  upon  a  plan  somewhat  as  follows ; 


THE    CHOIR    DIRECTOR. 


41 


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42  CHOIR    AND    CHORUS    CONDUCTING. 

It  is  well  to  plan  the  season's  choir  work  in  advance,  with 
a  view  to  bringing  about  definite  results.     As  for  instance  : 

An  increase  of  membership. 
Regularity  and  punctuality  in  attendance. 
An  advance  in  the  grade  of  music  performed. 
Improvement  in  quality  and  volume  of  tone. 
Added  expressiveness  in  performance. 

Something  can  then  be  definitely  planned  for  each  rehearsal 
having  a  direct  relation  to  the  carrying  out  of  the  general 
scheme  for  the  season. 

The  point  is  that  it  is  wise  to  have  a  definite  plan  to  follow, 
and  not  to  trust  to  chance,  or  circumstance,  or  mere  routine 
work  for  improvement.  At  the  close  of  each  rehearsal  the 
Director  will  find  it  profitable  to  mentally  review  the  evening's 
work  that  he  may  discover  whether  a  step  forward  has  been 
made,  and  if  not,  where  the  fault  lies. 


Chapter  V. 


The  Choir  Director  must  secure  and  maintain  good  order, 
and  respectful,  willing  obedience  in  the  rehearsal  room.  He 
must  first  of  all  be  able  to  rule  himself,  to  keep  his  temper  and 
be  courteously  firm. 

In  dealing  with  a  large  volunteer  chorus  choir,  in  the 
rehearsal  room,  it  is  well  to  have  it  understood  : 

That  announcements  will  be  made  but  once. 

That  all  conversation  must  cease  when  the  Director  speaks. 

That  when  one  division  is  being  rehearsed  other  divisions 
must  observe  silence. 


THE    CHOIR    DIRECTOR.  43 

Some  members  will  offend  against  even  such  simple, 
reasonable  rules  as  the  above.  Direct,  personal,  public  reproof 
is  seldom  advisable.  When  it  is  used,  (as  after  repeated 
general  and  private  warnings  have  proven  ineffective)  it  should 
be  made  as  short  and  sharp  as  possible.  The  moral  effect  is 
thus  enhanced. 

A  private  interview  with  a  recalcitrant  member  is  advised, 
rather  than  public  reproof  or  remonstrance  by  letter.  The 
leader  of  a  volunteer  choir  who  can  write  a  letter  of  remon- 
strance to  an  offending  singer  which  will  not  be  misunderstood 
or  used  against  him,  is  a  clever  man.  Before  a  personal  inter- 
view with  an  offender  is  had,  it  is  wise  to  take  a  few  minutes 
for  quiet  meditation,  during  which  the  attempt  should  be  made 
to  eliminate  every  vestige  of  temper  from  the  soul,  and  to 
cultivate  a  spirit  of  brotherly  kindness.  When  a  choir  member 
has  been  reproved,  it  is  often  a  good  plan  to  ask  such  a  one  to 
do  for  the  Choir  Director  or  choir  some  little  service.  If  this 
is  done  in  a  kindly  way,  in  the  presence  of  the  choir,  the 
member  will  usually  perform  the  service  gladly,  feeling  that 
the  leader  cherishes  no  resentment,  has  confidence  in  him,  and 
wishes  the  choir  to  know  it.  Cases  are  on  record  where 
valuable  but  thoughtless  members  have  been  saved  to  a  choir 
and  changed  into  real  helpers  of  the  leader  by  the  treatment 
indicated.  It  will  not  always  work  ;  there  are  dispositions 
which  are  not  to  be  reached  in  this  way.  With  them  it  is  rule 
or  ruin,  and  for  the  choir  as  a  whole  it  is  best  to  promptly 
dispense  with  the  presence  of  these  irreconcilables. 


44  CHOIR    AND    CHORUS    CONDUCTING. 


Chapter  VI. 

Where  the  form  of  service  permits^  the  Director  will  adapt 
his  selections,  in  both  text  and  style  of  music,  to  the  central 
theme  of  the  sermon.  When  sermon,  hymns,  solos  and  con- 
certed pieces  all  tend  to  the  enforcement  of  a  particular  thought, 
the  effect  upon  the  congregation  is  likely  to  be  powerful ;  cer- 
tainly much  more  so  than  where  the  service  music  bears  little 
or  no  relation  to  the  theme  of  the  discourse.  It  is  sometimes 
impossible  to  find  selections  particularly  appropriate  to  a  sermon 
topic.  In  such  case  the  well-equipped  Director  T,^dll  at  least  be 
able  to  choose  numbers  which  will  not  be  incongruous.  He  can 
give  a  tone  to  the  service,  one  of  solemn  worship,  of  praise  or 
of  thanksgiving,  as  may  seem  best  under  the  circumstances. 
Too  many  services  have  as  little  point  and  symmetry  as  does 
the  ordinary,  dreary,  hodge-podge  known  as  the  ''  miscellaneous 
concert. ' '  They  cause  the  intelligent  and  sensitive  worshiper 
to  wonder  on  what  ground  anthems  are  introduced  into  the 
public  service. 

In  planning  the  giving  of  services  and  concerts,  the  Choir 
Director  will  do  well  to  keep  in  mind  economy  of  means  and 
strength. 

It  is  unwise  to  give  heavy,  fugal  choruses  with  few  voices 
on  a  part,  It  is  tiring  to  the  singers  and  unfair  to  the 
composer,  as  the  interpretation  is  necessarily  inadequate. 
Quartet  choirs  should  confine  themselves  to  selections  requiring 
less  volume  and  breadth  in  delivery. 

Compositions  having  many  unison  passages  are  often 
effective,  and  require,  as  a  rule,  less  time  for  preparation  than 
pieces  with  full  harmony  throughout. 

The   frequent   use   of   unaccompanied   music  is   strongly 


THE    CHOIR    DIRECTOR.  45 

recommended.  Its  rehearsal  compels  tlie  singers  to  rely  upon 
themselves,  and  gives  opportunity  for  observing  the  many  lesser 
defects  which  are  so  likely  to  escape  notice  when  an  accompani- 
ment is  being  played.  Unaccompanied  choir  singing,  when 
well  done,  has  a  powerful  effect  upon  a  congregation  or  audience. 
Most  people  prefer  the  sweet  tones  of  the  human  voice  to  those 
of  any  instrument  made  by  man. 

The  preparation  and  performance  of  concert  programs 
furnishes  variety  in  work  for  a  chorus  choir,  and  stimulates 
interest.  It  sometimes  happens  that  a  choir  is  so  engrossed  in 
its  concert  work,  that  interest  in  the  Sunday  service  music 
suffers.  This  should  be  guarded  against.  The  choir  should  be 
made  to  understand  that  its  reason  for  existence  is  its  Sunday 
service.     With  the  choral  society  the  case  is  different. 

As  a  measure  of  economy,  in  preparing  for  a  concert  the 
Chorus  Choir  Director  will  frequently  take  up  choruses  from 
the  oratorios  and  cantatas  which  can  afterward  be  used  in  the 
church  service. 

Experience  has  led  to  the  making  of  the  following  sugges- 
tions to  Conductors  of  choirs  and  choral  societies,  in  regard 
to  concert  giving : 

The  Director  should  so  refer  to  the  concert  as  to  magnify 
the  choral  work,  no  matter  how  eminent  the  soloists  engaged. 
The  chorus  is  the  backbone  of  the  choral  concert.  Everything 
possible  should  be  done  to  cause  the  members  to  feel  that  the 
concert  is  theirs.  The  advertising  must  not  minimize  the 
choral  features  of  the  program. 

Details  of  hall  and  platform  arrangements  should  be  given 
into  the  hands  of  trustworthy  committees.  Instructions 
should  be  clear  and  concise,  and  committee-men  held  respon- 
sible for  the  performance  of  their  duties.  The  Director  should, 
however,  see  for  himself,  in  good  season,  whether  his  instruc- 
tions have  been  followed.     It  is  the  only  safe  plan. 


46  CHOIR    AXD    CHORUS    CONDUCTING. 

The  seating  of  the  chorus  and  distribution  of  mi^sie  should 
be  placed  in  the  hands  of  secretaries  and  librarians  and  the 
work  left  to  them. 

The  meeting  and  care  of  visiting  artists  should  be  left  to 
committees,  including  at  least  one  officer  of  choir  or  society. 
The  Conductor  should  always  be  courteous  to  artists,  but 
should  not  run  after  them. 

Keep  no  audience  waiting — begin  on  time. 

The  Conductor  should  be  the  last  person  engaged  in  the 
performance  to  take  his  place. 

In  doing  so  he  should  bow  to  the  audience,  signal 
for  attention,  lift  his  baton  and  begin  the  concert  with  as  little 
fuss  as  possible. 

Applause  should  be  acknowledged  with  a  bow.  Encores — 
repetitions  of  choral  or  orchestral  numbers — should  be  avoided. 
Rarely  can  the  fine  effect  of  a  first  performance  be  duplicated  ; 
an  anti-climax  is  a  thing  to  be  avoided. 

Auditors  and  critics  judge  by  results,  and  take  no  account 
of  what  the  Conductor  may  consider  to  be  extenuating  circum- 
stances. Seldom  is  a  conductor  obliged  to  give  a  concert.  He 
should  never  do  so  unless  satisfied  that  the  work  in  hand  is 
well  prepared.  One  failure  is  more  talked  of  than  two 
successes — it  is  the  wa}^  of  the  world. 

The  Conductor  should  have  naught  to  do  with  handling 
money  in  connection  with  a  concert,  except  to  accept  the 
Conductor's  fee,  and  receipt  for  it. 

Let  the  understanding  between  the  Conductor  and  the 
finance  committee  of  a  concert  be  thorough  and  clear  as  to 
amount  to  be  allowed  for  soloists,  orchestra,  etc.  Much  trouble 
will  thus  be  avoided. 

in  the  case  of  a  choral  society  giving  two  to  four  concerts 
per  season,  it  is  sometimes  well  to  use  local  soloists  for  at  least 
one  concert.     Good  judgment  is  needed  in  the  management  of 


THE   CHOIR   DIRECTOR.  47 

this  matter.  Societies  have  come  to  grief  over  the  rival  claims 
of  local  solo  singers,  and  others  have  only  avoided  disaster  by 
using  none  but  visiting  artists.  Yet  the  local  singer,  when 
competent,  deserves  encouragement. 

The  Conductor  who  holds  a  proper  view  of  the  dignity  of  his 
position  will  wish  the  advertising  of  his  concerts  to  be  done  in 
a  legitimate  fashion.  As  a  rule  the  most  effective  medium  is 
the  daily  or  weekly  newspaper.  A  circular,  to  be  of  much 
value,  must  be  extremely  well  written,  tasteful  in  its  typogra- 
phy, and  show  the  program.  Beside,  it  must  be  gotten  into 
the  hands  of  the  people  who  patronize  concerts,  and  this  is 
often  a  difficult  matter.  The  ordinary  circular  distribution 
will  not  accomplish  it,  for  most  circulars,  so  distributed,  are 
thrown  away  unread.  A  circular  sent  out  in  an  ordinary 
sealed  envelope  will  certainly  reach  the  person  intended  and 
stand  a  good  chance  of  being  read.  This  method  is  expensive. 
On  the  other  hand,  the  circular  offers  opportunity  for  saying 
what  needs  to  be  said  at  less  cost,  usually,  than  it  could  be  done 
for  in  the  advertising  columns  of  the  newspaper.  The  art  of 
advertising  is  a  difficult  one,  and  a  concert  giver  who  can  secure 
the  services  of  an  expert  is  fortunate.  So  far  as  financial 
results  are  concerned,  the  personal  efforts  of  the  members  and 
friends  of  the  choir  or  choral  society  to  obtain  subscriptions 
or  sell  tickets,  are  far  more  effective,  usually,  than  the  most 
judicious  and  liberal  advertising. 

A  custom  against  which  the  Conductor  should  set  himself 
is  that  of  printing  commercial  advertisements  upon  the  program 
of  the  concert.     It  is  undignified  and  inartistic. 


48  CHOIR   AND    CHORUS    CONDUCTING. 


Chapter  YII. 

An  important  part  of  the  work  of  a  Conductor  is  the 
arrangement  of  service  and  concert  programs. 

In  those  churches  where  the  texts  to  be  used  in  the  musical 
numbers  are  stated  by  ecclesiastical  authority,  the  Conductor 
has  but  to  consider  the  matter  of  the  appropriateness  of  the 
musical  settings.  The  music  should  be  of  a  character  suited 
to  the  meaning  or  emotional  content  of  the  text.  The  numbers 
should  vary  in  tonality  and  to  some  extent  in  style.  Other- 
wise ear  and  voice  become  wearied.  Long  anthems  with  little 
change  of  key  ;  or  those  in  four  part  harmony  throughout,  are 
likely  to  become  tedious  to  the  listener.  The  introduction  of 
solo  parts  heightens  the  effect  and  prevents  monotony. 

In  chanting  an  extended  text  it  is  well  to  use  two  chants, 
one  for  the  first,  and  another,  in  a  different  kej- ,  for  the  second 
half  of  the  selection. 

As  has  been  intimated,  where  the  choice  of  service  selec- 
tions is  wholly  in  the  hands  of  the  Director,  it  should  be  his 
aim  to  choose  texts  and  music  which  will  reinforce  the  central 
idea  of  the  sermon  or  service.  In  general,  care  should  be 
taken  to  avoid  incongruity,  as  regards  the  subject  of  the 
sermon  and  the  texts  sung,  the  spirit  of  the  other  parts  of  the 
service  and  that  of  the  music.  The  selections  in  a  given 
service,  w^hile  showing  variety  in  key,  mode  and  use  of  more 
or  fewer  voices,  should  not  present  violent  contrasts  in  style. 
There  should  be  unity  with  variety.  A  lugubrious  anthem  for 
quartet,  with  long-drawn  out,  slowly  moving  phrases,  has  been 
followed  in  one  service  by  a  brilliant,  florid  anthem  of  praise 
for  solo  soprano.  There  was  variety  without  unity.  Xf  one 
selection  was  in  harmony  with  the  tone  of  the  service,  the 
other  certainly  was  not. 


THE    CHOIR    DIRECTOR.  49 

As  an  example  of  a  well  arranged  service,  an  account  is 
given  of  an  afternoon  service  held  at  King's  Chapel,  Boston, 
Mr.  B.  J.  Lang,  organist  and  director.  The  music  was  sung 
by  a  solo  quartet  and  a  small  chorus  of  adults,  mixed  voices. 

The  organ  prelude  was  about  five  minutes  in  length,  and 
of  a  quiet,  devotional  character.  After  the  opening  collects, 
the  following  selections  from  Mendelssohn's  ''St.  Paul,"  were 
sung  : 

Recit.  (  Contralto  )  As  He  Journeyed  Toward  Damascus. 
Aria—''  But  the  Lord  is  Mindful  of  His  Own." 

Recit.  (Tenor  and  Bass)  and  Chorus — "And  as  he 
journeyed. ' ' 

' '  Saul,  why  persecutest  thou  Me  ?  ' ' 

And  he  said,  ' '  Lord,  who  art  Thou  ?  ' ' 

"And  the  Lord  said  to  him,"  I  am  Jesus  of  Nazareth, 
whom  thou  persecutest." 

And  he  said,  trembling  and  astonished,  ' '  Lord,  what  wilt 
Thou  have  me  to  do  ?  " 

And  the  Lord  said  to  him,  "Arise  and  go  into  the  city, 
and  there  thou  shalt  be  told  what  thou  must  do. ' ' 

Next  came  the  scripture  lesson,  prayers,  and  a  hymn  for 
the  choir,  "Hark,  Hark  My  Soul,  Angelic  Voices  Swelling," 
the  organist  improvising  for  a  few  minutes,  at  its  close,  using 
the  tune  as  a  theme,  until  the  minister  had  taken  his  place, 
and  prepared  himself  for  his  address. 

This  was  upon  the  topic  of  ' '  Visions. ' '  At  its  conclusion 
further  selections  from  ' '  St.  Paul ' '  were  given  as  follows  :  — 

Chorus — "  Rise  up  !  Arise  !  " 

Choral — "  Sleepers,  wake,  a  voice  is  calling  !  " 

Recit. — (Tenor) — "And  His  Companions." 

Aria — (  Bass  ) — "  O  God,  have  mercy." 


50  CHOIR    AND    CHORUS    CONDUCTING. 

At  the  conclusion  of  the  aria  the  congregation  sang  a 
hymn  and  the  service  closed  with  the  benediction,  and  a 
tasteful  organ  postlude. 

It  will  be  noted  that  the  theme  of  the  sermon  and  of  the 
musical  service  was  one  and  the  same. 


Chapter  VIII. 

Program-making,  for  choir  and  choral  concerts  is  by  no 
means  a  simple  matter.     The  Conductor  must  consider  : — 

His  duty  to  his  art :  the  music  must  be  as  good  as  it  is 
possible  to  give  with  benefit  to  tlie  audience  as  well  as  to  the 
performers. 

Next,  the  interpretative  forces  available,  in  other  words, 
the  numbers  and  skill  of  chorus  and  orchestra,  and  the  calibre 
of  his  soloists. 

The  size  of  the  auditorium  ;  chamber  music  rarely  sounds 
well  in  a  large  hall. 

The  importance  of  variety  and  contrast  in  arousing  and 
sustaining  interest.  It  is  often  a  good  plan  to  give  tw^o  short 
works  of  contrasting  styles.  Some  symphony  program  makers 
proceed,  apparently,  upon  the  plan  of  leading  up  to  the  heaviest 
item  upon  the  program.  They  place  the  march,  the  suite, 
etc.  first,  reserving  the  symphony  for  the  last  number.  This  is 
a  mistake.  The  largest  work  is  that  which  makes  the  greatest 
demands  upon  the  strength  of  both  players  and  listeners,  and 
is  best  given  first,  when  both  parties  are  fresh  and  their  power 
of  concentration  strongest. 

In  preparing  what  is  known  as  a  miscellaneous  program, 
involving  the  services  of  vocal  and  instrumental  soloists  and  a 


THE   CHOIR   DIRE^^rrOR.  61 

chorus,  certain  points  should  be  carefully  attended  to.     As  a 
general  rule ; 
Do  not — 

Follow  one  number  with  another  in  the  same  key. 

Give  two  sad  or  two  bright  selections  consecutively. 

Use  two  solo  voices  or  instruments  of  a  similar  character 
in  succession  ;  as,  a  soprano  and  a  tenor ;  a  contralto  and  a 
bass  ;  a  flute  and  a  violin. 

Follow  one  vocal  number  with  another  when  an  instru- 
mental number  could  be  placed  between. 

Mix  recitations  and  music.  A  concert  is  not  the  place  for 
elocutionary  display. 

Place  comic  or  humorous  selections  on  the  same  program 
with  serious  music. 

Fail  to  choose  an  effective  number  for  the  close  of  the 
program  ;  the  last  impression  should  be  a  good  one. 

Cater  to  popular  taste  any  more  than  is  absolutely  necessary 
to  get  people  to  attend  the  concert.  Give  some  numbers  of  a 
high-grade,  well  done.  Then  will  public  taste  be  educated, 
and  art  justified  of  its  friends. 

Undertake  large  works  for  the  sake  of  outside  or  news- 
paper reputation  when  the  forces  available  are  incapable  of  an 
adequate  interpretation  thereof.  To  do  so  is  to  work  an 
injustice  to  the  composer,  to  art,  and  also  to  make  trouble  in 
the  choir. 


Part  III. 
THE  CHORAL  CONDUCTOR. 

Chapter  I. 

Inttoduction* — In  preparing  for  his  work  the  choral 
conductor  will  first  study  the  technical  items  of  his  art ;  sing- 
ing, harmony,  counterpoint,  composition,  score-reading  and 
time-beating.  If  he  expects  to  deal  with  an  orchestra,  he  will 
study  a  good  work  on  the  orchestra  and  instrumentation,  and 
if  possible  one  orchestral  instrument,  preferably  a  stringed- 
instrument.  The  listening,  first  to  a  small  orchestra  and  later 
to  a  ''  grand  "  or  ^'  symphony  "  orchestra,  score  in  hand,  noting 
the  transference  of  themes  from  one  instrument  to  another, 
and  the  use  of  the  various  families  of  the  orchestra  in  combi- 
nation and  contrast,  is  also  recommended. 

The  choral  conductor  who  has  made  a  serious  study  of 
voice  culture  and  singing  has  a  decided  advantage  over  one  who 
has  not.  Suppose  he  has  not  a  good  voice  ;  he  should  never- 
theless study  singing,  that  he  may  know  how  to  treat  the  voices 
of  others.  A  choral  conductor  who  does  not  understand  the 
voice  can  not  hope  to  secure  the  finest  effects  from  his  chorus, 
and  is  likely  to  cause  injury  to  some  voices. 

Dr.  H.  R.  Streeter,  author  of  '' Yoice-building,"  says: 

"A  man  may  be  an  artistic  flutist ;  he  may  read  a  musical 
score  well,  and  have  an  accurate  knowledge  of  tempos  ;  he 
may  even  possess  the  ability,  which  some  do  not,  of  composing 

52 


THE   CHORAL    CONDUCTOR.  53 

a  good  score  ;  fortunate  circumstances  and  friends  may  unite 
to  bolster  him  up  and  keep  him  in  position  ;  he  may  possess  all 
these  and  many  other  requisites,  and  then  utterly  fail  as  a 
director  of  voices. ' ' 

A  conductor  who  cannot  sing,  but  is  a  good  violinist,  will 
be  able  to  teach  his  chorus  to  sing  with  a  true  legato, — in  the 
singing  style.  Pianists  and  organists  who  have  not  been 
trained  as  singers  usually  make  the  least  effective  choral 
conductors. 


Chapter  II. 


The  ability  to  beat  time  gracefully  and  correctly  pre- 
supposes a  feeling  for  tempo  and  rhythm,  and  a  study  of  the 
method  of  indicating  the  pulses  and  their  subdivisions,  so  that 
the  performers  may  know  exactly  when  to  take  up  the  entrances, 
and  may  keep  time  as  one  man.  Further,  by  the  motions  of 
his  baton,  and  the  expression  of  his  features,  the  conductor 
indicates  the  variations  of  force — the  sforzandos,  crescendos, 
diminuendos^  special  accents  and  emphases. 

The  conductor's  baton  should  be  light,  and  of  a  color 
easily  discernible.  His  actions  in  time-beating  should  be  as 
graceful  and  unobtrusive  as  possible.  He  should  not,  by  his 
gestures,  obtrude  his  personality  between  the  audience  and  the 
music.  Above  all,  stamping  the  foot,  or  rapping  upon  the 
music  desk,  and  other  noises  must  be  avoided. 

No  general  rule,  of  course,  can  be  laid  down  for  the  manner 
of  conducting.  Each  conductor  who  has  the  qualifications  by 
nature  and  study  for  the  work,  will  best  succeed  when  he  is 
most  natural,  or  unconscious,  in  the  act  of  conducting.  Per- 
haps the  most  striking  personality  for  boldness,  rugged  strength 
and  magnetism  Americans  have  seen  at  the  conductor's  desk 
was  Anton  Seidl.     His  play  with  the  baton  was  free,  but  his 


64  CHOIR   AND   CHORUS    CONDUCTING. 

face  was  the  chief  means  for  expressing  his  wishes  to  his  men. 

Emil  Pauer  has  a  decided,  strong  beat  and  a  good  deal  of 
virility. 

Gericke,  the  present  conductor  of  the  Boston  Symphony- 
Orchestra,  has  a  very  decided  beat,  and  makes  considerable 
work  of  conducting. 

Theodore  Thomas  is  probably  the  most  graceful  great 
conductor  America  has  known.  His  motions  in  beating  time 
form  a  series  of  beautiful  curves.  He  stands  firmly  upon  his 
feet,  and  does  not  reach  out  or  bore  in  toward  his  men.  Arm 
and  wrist  do  all  the  work,  with  an  occasional  side  glance  of 
the  eye  to  prepare  an  entrance,  or  a  slight  gesture  of  the  left 
hand  to  emphasize  a  point  of  accent  or  shading. 

The  point  of  chief  importance  in  time-beating  is  that  the 
baton  shall  clearly  and  decisively  indicate  the  primary  accent. 
Some  professional  and  many  amateur  conductors  wave  the 
baton  in  a  series  of  semi-circles  leaving  the  performers  in  doubt 
as  to  which  motion  indicates  the  strong  accent — the  down  beat. 
A  style  of  time-beating  which  brings  the  baton  to  a  point  of 
rest  on  each  beat  may  be  somewhat  angular  to  the  eye  ;  it  is, 
however,  very  clear  and  comfortable  to  the  performers.  The 
down  beat,  at  least,  should  be  easily  discernible  by  everybody 
concerned. 

The  baton  may  be  used  with  ease  if  held  lightly  between 
thumb  and  fingers  (  somewhat  as  the  violinist  holds  his  bow  ) 
at  a  point  a  short  distance  from  one  end : 


THE    CHORAL    CONDUCTOR.  65 

To  avoid  fatigue  from  prolonged  use  of  the  baton  it  is  wise 
to  keep  the  elbow  near  to  the  side  as  much  as  possible,  throw- 
ing the  work  largely  upon  the  wrist.  The  piactiee  of  time- 
beating  with  either  arm  is  recommended. 

For  moderate  force  and  flowing  delivery,  a  rather  short 
stroke,  with  a  curving  motion,  is  indicated.  For  less  force  the 
stroke  may  be  made  quite  short. 

For  the  crescendo  the  length  of  the  stroke  is  gradually 
increased,  bringing  the  whole  arm  into  play  ;  sometimes  the 
arm  is  raised,  little  by  little,  as  the  force  approaches  a  climax. 
These  motions  are  reversed  for  the  decrescendo. 

The  staccato  style  is  indicated  by  short,  straight  beats, 
from  the  wrist,  passing  rapidly  from  one  rest-point  to  another. 

A  long,  rapid,  vigorous,  full  arm  beat,  usually  made  with 
both  arms  for  emphasis,  indicates  the  sforzando  or  exclamatory 
attack. 

The  pressure-legato  delivery,  which  is  not  the  same  thing  as 
a  repeated  accent,  and  is  notated  thus  : 


i 


Thou    art    my 

may  be  indicated  by  a  firm  beat  with  a  drawing  of  the  hand 
somewhat  toward  the  body  on  each  beat,  as  though  pulling 
each  tone,  with  energy,  from  the  performers. 

To  indicate  the  release  of  a  hold  or  pause  note,  the  baton 
should  be  given  a  very  rapid,  short  motion  from  the  point  of 
rest  first  to  the  left  and  then  to  the  right.  When,  after  a 
pause,  the  movement  is  to  be  resumed  without  a  break  in  the 
continuity  of  the  tone,  the  resumption  of  the  regular  beat 
should  be  preceded  by  a  slight  preparatory  motion  of  the  baton. 

In  cases  where  a  note  is  to  be  held  for  several  measures 
the  left  hand  may  be  held  up  during  the  sustaining  of  the  note 


66  CHOIR    AND    CHORUS    CONDUCTING. 

and  dropped  with  a  quick  motion  at  its  end,  while  the  right 
hand  beats  the  time  as  usual. 

Excess  of  gesture  is  to  be  avoided.  The  left  hand  should 
be  sparingly  used.  It  may  come  into  play  effectively  as  shown 
above.  Also  in  other  ways,  as  for  instance  :  To  indicate  the 
entrance  of  voices  or  instruments  ;  to  silence  a  performer  ;  to 
subdue  force  of  tone  by  a  downward,  repressive  gesture ;  to 
secure  a  crescendo  by  a  gradually  rising  motion  ;  to  indicate 
subdivisions  of  the  beat.  The  left  hand  is  to  be  looked  upon 
merely  as  an  assistant  to  the  right  hand  in  the  work  of  time- 
beating  and  conducting.  There  is  no  more  ludicrous  sight 
than  the  two-handed  conductor,  as  he  waves  both  arms  wildly 
and  continuously  in  the  air  in  a  tremendous  effort  to  give  an 
inspired  reading  of  the  music. 


Chapter  III. 
The  method  of  time-beating  recommended  is  as  follows  : 
Simple  Duple  Measure :     ^  or  S     5     o 

Compound  Duple  Measure  •     4     o     m 
Two  beats  to  the  measure — :Down  (strong);  up  (weak). 

z 


THE    CHORAL    CONDUCTOR. 


57 


When  the  rate  of  movement  is  very  slow  the  beat  is  thus 
divided : 

3* 


Simple  Duple  Measure  :- 


f 


Compound  Duple  Measure  : — 


Note. — The  large,  black  figures  show  the  point  of  rest  on  the  principal 

beats.      When  the  pulse  is  subdivided  the  principal  beat  should  receive 
especial  emphasis. 

g       g  o 

Simple  Triple  Measure :     2     4  8 

Q  Q         Q 

Compound  Triple  Measure  :     4  s    1 6 


Three  beats  to  the  measure — Down 
(strong),  right  (weak),  up  (weak). 


68 


CHOIR   AND   CHORUS    CONDUCTING. 


In  slow  movements : 
Simple  Triple  Measure  : — ■ 

«     5 


I    2 

Compound  Triple  Measure  : — 
9     8    7 


"V"/ 


J       2        3 

Simple  Quadruple  Measure  :     2    S  ^^  4 

12     12 
8 


4 
8 

12 
16 


Compound  Quadruple  Measure  :      4 

Four  beats  to  the  measure — Down  (strongest),  left  (weak), 
right  (strong),  up  (weak). 

4. 


N 


THE    CHORAL    CONDUCTOR. 


£i» 


lu  slow  movements  : 

Simple  Quadruple  Measure  : — 


8    7 


Compound  Quadruple  Measure  : — 

12  11  XQ 


The  sign  g  is  used  for  four-pulse  measure,  called  common 
time.  The  beat  note  varies  :  it  may  be  in  one  case  the  whole 
note  ;  in  others  the  half  or  the  quarter  note. 

The  sign  ^  is  used  for  measures  of  different  values ;  but 
such  measures  must  be  considered  as  two-pulse  measures,  and 
two  beats  given  :  Down-np. 

^^Alla  Breve.  Originally  a  species  of  time  in  which  every 
bar  contained  a  breve,  or  four  minims  ;  hence  its  name.  In 
this  time,  chiefly  used  in  the  older  church  music,  the  minims, 
being  the  unit  of  measurement,  were  to  be  taken  fast,  some- 
what like  crochets  or  quarter  notes  in  ordinary  time.  This 
time  was  also  called  Alia  Capella  (  church  time  ).     Modern  Alia 


,^  CHOIR   AND   CHORUS    CONDUCTING. 

hreve  time  simply  differs  from  ordinary  common  time  by  being 
always  beaten  or  countf^d  mth  two  minims  (  and  not  with  four 
quarters)  in  the  bar,  and,  therefore,  is  really  quick  common 
time.  It  is  indicated  in  the  time  signature  by  ^,  i.  e. ,  the  g 
which  is  used  to  show  four-quarter  time,  w^th  a  stroke  dowTi 
through  it." — "  Grove's  Dictionary  of  Music  and  Musicians. 
^^A  capella: 

(1)  In  the  church  style  ;  vocal  pieces  unaccompanied. 

(2)  Church   music   in   duple   time." — ''Stainer   and 
Barrett's  Dictionary  of  Musical  Terms." 

In  very  quick  movements  beat  triple  measure  thus  : 

1 

practically  indicating,  by  the  down  beat,  only  the  first  pulse  of 
each  measure. 

Likewise,  beat  quadruple  measure  thus  : 

1 3 

practically  indicating  by  a  down  and  up  beat,  only  the  strong 
pulses — the  first  and  third. 

The  choral  conductor  rarely  has  to  deal  with  five-pulse 
measure.  This  can  sometimes  be  taken  as  three-two,  Down- 
right-up,  down-up.  In  such  case  the  first  dow^n  beat  should  be 
more  vigorous  than  the  second  down  beat  in  the  measure.  It 
can  also  be  taken  thus  :  Down-left-right-up-up. 

When  a  piece  begins  on  other  than  the  first  beat  of  a 
measure,  the  conductor  need  not  give  the  preceeding  beats  ;  he 
should,  however,  make  a  short  preparatory  motion  with  the 
baton  before  giving,  with  marked  clearness,  the  beat  on  which 
the  singers  or  players  enter.  This  to  warn  the  performers  to 
be  ready  to  attack  promptly  on  the  beat.  This  preparatory 
motion  is  not  needed  when  the  piece  begins  on  the  second  part 
of  the  beat ;  a  decided  marking  of  the  beat  is  suflBcient. 


THE    CHORAL    CONDUCTOR. 


61 


Chapter  IV. 

In  beating  time  in  recitative,  it  is  important  that  the 
conductor  should  be  thoroughly  familiar  with  both  the  vocal 
and  instrumental  parts  of  the  score.  He  must  be  independent 
of  the  printed  score  and  thus  able  to  concentrate  his  attention 
upon  the  performers,  especially  the  reciter. 

As  a  rule,  short  cadential  chords,  in  a  recitative,  as  at  * 
in  the  following  example,  are  struck  after  the  voice  has  ceased  : 

Handel— 

"  Messiah." 


m 


^^ 


5^^^ 


:n:?= 


^=^ 


:^^=p: 


Be  -  hold !     He  shall  come, 


saith  the  Lord      of 


s 


w=m 


1^ 


^@^ 


^\ 


^n 


Lt 


w. 


*^ 


2.        ^ 

When  the  orchestra  is  to  enter  on  the  weak  pulse  of  the 
measure,  as  at  *  in  the  extract  given  below,  the  first  beat  must 
not  be  given  too  strongly,  or  careless  players  may  strike  the 
chord  too  soon  :  haydn— 

The  Creation." 


fe 


J^-^f-tl 


t 


s        ^ 


I* 


Pro- claim  -  ing     thus 


S 


t — r 


62 


CHOIR   AND    CHORUS    CONDUCTING. 


Where  rests  occupy  one  or  more  measures,  as  in  the 
following  extract  at  *,  all  beats  except  the  first  in  each  measure 
may  be  omitted.  The  regular  beat  for  each  pulse  must  be 
resumed  when  the  instrumental  accompaniment  begins. 


Massenet — 
"  Eve." 


* 


-f—r-r—r 


-51-A- 


V — V — V — t^ — b^ 

C'estd'un  re-flet  du   ci  el  que  ton  front  se     co  -  lo  -    re,      Je 

4-4-  ♦  * 


m 


p    r    f  r 


t 


S 


^: 


vols, —  dans  tes   re  -   gards, 


P 


luire  un    vi  -  vant    e  -  clair  ! 


m 


^ 


In  the  following  excerpt  the  harmony  changes  only  on  the 
first  pulse  of  each  measure.  It  is  necessary,  however,  in  order 
that  the  tympani  of  the  orchestra  may  know  and  observe  the 
tempo  desired,  to  give  four  beats  to  the  measure.     The  singer, 


THE   CHORAL    CONDUCTOR. 


63 


in  this  modern,  measured,  accompanied  recitative,  is  expected 
to  observe  the  tempo  and  rhythm  indicated  by  the  composer  : 


Moderato. 


Gounod— 
Redemption.' 


i 


m 


^H3^ 


:p:^^t 


-^ 


lE^P^PE 


-#—4 


:b=W 


VIM    bk-kU 


When  the  hour  was  at  hand,      the  Lord,  with  resig  -  na  -  tion,  went 


m. 


N 


^ 


m 


-s?: 


*- 


:ii^ 


^4=1^ 


Where,  as  in  the  following  extract  at  *,  chords  are  sustained 
for  one  or  more  measures,  one  beat  may  be  given  for  each 
measure. 


COWEN— 

Rose  Maiden." 


bJ    f  T~^ 


P=^H*= 


P 


b=tc 


in   glo  -  ry,      In     win  -  ter   I    must  pine, 
* 


¥ 


^ 


3F 


a 


Berlioz,  however,  says : 

^ '  I  do  not  see  why,  in  recitatives,  the  bar  should  not 
be  divided  regularly,  and  the  real  beats  be  marked  in  their 
place  as  in  music  that  is  kept  time  to." — (Art  of  Conducting.) 


64  CHOIR   AND    CHORUS    CONDUCTING. 

When  this  is  done,  care  must  be  taken  to  follow  the  singer 
with  precision  ;  to  dwell  upon  each  beat  at  the  point  of  rest  so 
as  not  to  anticipate  the  movement  of  the  voice  to  the  note  upon 
the  following  beat.  For  example,  in  singing  the  recitative 
from  the  ' '  Rose  Maiden ' '  quoted  above,  the  soloist  may 
possibly  pause  somewhat  on  ''  winter,"  and  ritard  considerably 
in  delivering  the  words  ^'I  must."  The  baton  must  be  held 
at  the  point  of  rest  on  the  down  beat  at  ' '  winter ' '  until  the 
syllable  ''  ter  "  is  completed,  then  moved  quickly  to  the  left,  as 
the  singer  delivers  ^ '  I  "  and  held  there  until  the  last  consonant 
of  "  must "  is  sounded  ;  and  so  on. 


Chapter  V. 


An  important  part  of  a  choral  conductor's  preparation  for 
his  work  is  the  development  of  imagination,  and  the  cultiva- 
tion of  taste  and  feeling.  He  should  familiarize  himself  with 
the  master-pieces  of  literature,  especially  the  works  of  the 
imaginative  writers.  He  should  also  embrace  every  opportunity 
for  hearing  orchestral  and  organ  music,  as  these  stimulate  the 
fancy  and  emotions  of  the  sensitive  musical  soul.  One  must 
himself  feel  if  he  is  to  make  others  feel. 
Berlioz  says  : 

''  The  orchestral  conductor  should  know  the  compositions, 
the  nature  and  compass  of  the  instruments,  and  should  be  able 
to  read  the  score.  Those  he  directs  should  feel  that  he  feels, 
comprehends,  and  is  moved  ;  then  his  feelings,  his  emotions, 
communicate  themselves  to  those  whom  he  directs." 

When  preparing  for  a  service  or  concert  the  conductor  will 
thoroughly  familiarize  himself  with  the  score,  words  and 
music.  He  must  decide  what  is  the  meaning  of  the  words  and 
the  content  of  the  music,  in  other  words,  upon  his  interpreta- 
tion of  the  work  as  a  whole. 


THE   CHORAL   CONDUCTOR.  65 

An  instrumental  composition  carries  its  own  message. 
A  composition  in  which  words  and  music  are  joined,  pre- 
sents a  different  problem.  In  the  first  case,  the  conductor 
strives  to  bring  out  or  interpret  the  structural  and  technical 
beauty  of  the  music,  and,  if  he  be  a  man  of  imagination  and 
fine  feeling,  he  will  endeavor,  through  his  players,  to  make  his 
audience  feel  something  of  the  emotion  aroused  by  the  music 
in  his  own  soul. 

The  phrase  is  often  used  : 

^^  Mr.  Jones  has  set  Mrs.  Smith's  words  to  music." 

A  proper  conception  of  the  relation  of  words  and  music  in 
a  vocal  composition  would  make  the  phrase  read  thus  : 

''  Mr.  Jones  has  set  music  to  Mrs.  Smith's  words." 

The  office  of  the  music  in  a  vocal  composition  is  to  illumi- 
nate the  sentiment  of  the  words,  to  intensify  the  mood  of  the 
text.  Not  all  music  set  to  words  accomplishes  these  effects,  and 
sometimes  music  appropriate  to  the  words  is  so  badly  per- 
formed as  to  defeat  its  purpose. 

Evidently  the  important  point  for  the  choral  conductor  is 
to  arrive  at  an  adequate  conception  of  the  meaning  or  senti- 
ment of  the  text.  Then  comes  the  study  of  the  music  as  music, 
and  also  in  its  special  relation  to  the  text  as  indicated  above. 

The  meaning  of  the  words  may  be  considered  in  two  ways  : 

(1)  The  ordinary  sense  of  the  words,  as  language  convey- 
ing thought. 

(2)  The  emotional  sense  or  content  of  the  language,  as 
expressing  feeling. 

Distinct  enunciation  and  articulation,  and  the  proper 
grouping  of  words,  are  the  chief  means  for  bringing  out  the 
sense  of  the  text.  ^  ^    ^^f    ^^  .^..v^    v-*— 

'Mid  play  sure,  send  pal  aces,  though  weam  a  rome. 
Be  it  averse,  oh  wum  bull  there  snow  play  sly  comb. 


66  CHOIR   AND    CHORUS   CONDUCTING. 

The  foregoing,  though  perhaps  somewhat  over-drawn,  is  a 
suggestive  illustration  of   defective  utterance  by  a  singer. 

To  secure  a  distinct  delivery,  special  attention  must  be 
paid  to  the  consonants,  particularly  to  those  which  end  words. 
Each  word  must  be  uttered  with  the  proper  sound  of  the  vowel, 
and  with  a  clear  division  between  it  and  the  following  word. 
Otherwise,  we  have  such  absurdities  in  choir  singing  as  : 

' '  Oh  !  glorious  soap. ' '     (  hope  ) . 
*  ^  The  consecrated  cross-eyed  bear. ' '     (cross  I'  d  bear). 
*^  Make  lean  (  clean  )  your  heart.'' 
^ '  The  soldier' s  steer. ' '     (  tear  ) . 
^ '  Oh  Loar  thohoo  art  moy  Gawd. ' ' 
(Oh,  Lord,  Thou  art  my  God  ). 
* '  Captain  John  Smith  having  gone  to  sea  his  wife,  requests 
the  prayers  of  the  congregation." 

The  foregoing  announcement  b}^  a  church  clerk  shows  the 
necessity  of  a  proper  grouping  of  words,  if  the  meaning  of  the 
language  is  to  be  made  clear. 

Good   singing   is  an  extension   of   good   speaking.      The 
singer  should  deliver  the  words  as  a  good  reader  would  do. 
He  should  sing  sense.     To  this  end  the  singer  must  regulate 
his  breathing,  for  by  it  he  punctuates  the  sentence. 
Breath  must  not  be  taken  : 
Between  syllables  of  a  word. 
Between  words  that  naturally  fall  into  a  group,  as  : 

^^  I  will  go  to  my  )  Father." 
"Thy  mercies  how  )  tender  how  )  firm  to  the  end." 
'    A  well-known  hymn  runs  thus  : 

"And  every  day  I  live  I  seem 
To  love  Thee  more  and  more. ' ' 
The  poetical  phrasing  requires  that  the  breath  be  not  taken 


THE   CHORAL   CONDUCTOR.  67 

after  '^  seem,"  (  as  is  usually  done  ),  but  after  ''  live,"  and  the 
remainder  of  the  clause  sung  with  one  breath. 

Authorities  differ  somewhat  as  to  the  wisdom  of  frequent 
breaks  in  the  melodic  outline  in  order  to  bring  out  the  sense  of 
the  words. 

f  A.  M.  Richardson  says  : 

'  ^  Though  a  fresh  supply  of  breath  is  not  required,  a  break 
should  be  made  in  order  to  make  the  sense  clear. 

'  Finding,  1 1  following,  1 1  keeping,  1 1  struggling. ' 
Here  each  word  introduces  a  fresh  thought.     When  a  break  is 
made  at  the  1 1  the  meaning  is  brought  home. ' ' 
Per  contra,  §  Sieber  says  : 

''Although  the  interpunct nation  of  the  text  will  often  be 
a  sufficient  guide,  we  shall  frequently  find  our  breath  too  short 
to  sing  from  comma  to  comma,  or,  on  the  other  hand,  may 
encounter  them  so  often,  that  to  use  every  one  of  them  for  a 
breathing  place  would  cut  the  cantilene  into  fragments.  And 
yet  this  kind  of  so-called  musical  declamation  is  frequently 
heard,  especially  in  quartet  choirs,  where  it  is  styled  to  '  sing 
with  expression.'  " 

We  recall  here  the  well-known  line  : 

''There,  with  my  Saviour,  Brother,  Friend." 

In  such  cases  it  is  usually  possible  to  effect  a  compromise 
which  permits  of  the  preservation  of  the  flow  of  the  melody, 
while,  by  means  of  skilful  enunciation,  articulation,  accentua- 
tion and  emphasis,  the  meaning  of  the  words  is  made  clear. 
This  style  of  delivery,  however,  is  that  of  the  artist,  and  is 
not  often  heard. 


t  Choir-training.  §  Art  of  Singing. 


68  CHOIR   AND   CHORUS   CONDUCTING. 


Chapter  YI. 

The  text  of  a  vocal  composition  is  next  to  be  studied  with 
reference  to  its  sentiment  or  emotional  content.  One  may  sing 
with  distinctness  : 

"I  come  to  watch  o'er  thee," 
in  a  matter-of-fact  way,  as  though  stating  a  mathematical 
problem.  The  object  of  solicitude  may  gather  from  the  lan- 
guage used  that  the  singer  proposes  to  spend  some  part  of  the 
evening  in  her  vicinity  in  the  capacity  of  a  watchman.  Whether 
he  does  so  from  personal  interest  in  her  Avelfare  or  because  he 
has  been  employed  for  the  work  does  not  appear.  His  state- 
ment conveys  no  sentiment,  betrays  no  emotional  ' '  content. ' ' 
It  is  the  baldest  declaration  of  a  fact.  Now  it  is  quite  easy 
for  one  sensitive  to  the  higher  uses  of  language  to  find  in  these 
words  an  expression  of  devotion.  This  is  the  emotional  content 
or  sentiment  of  the  text  for  which  the  choral  conductor  must 
seek,  and  which  he  must  interpret  to  his  audience.  This  involves 
a  consideration  of  appropriate  emphasis,  tone-color,  and  shading. 

Accent  is  a  particular  stress  placed  upon  a  syllable.  In 
music  it  is  the  stress  which,  occuring  regularly,  divides  the 
pulses  into  groups  or  measures. 

Words  have  their  own  accents.  Take  the  word  ' '  Founc?(x- 
tion. ' '     The  accented  syllable  is  ^'  da.^^ 

Music  which  is  well-adapted  to  the  words  brings  the 
metrical  and  the  verbal  accents  together.  When  it  does  not, 
as  in  the  following  excerpt, 

A- 


M 


Spir    -    it       of     mer  -  cy,  etc. 
the  metrical  accent  may  be  modified. 


THE   CHORAL    CONDUCTOR. 


69 


In  the  following  excerpt,  at  *  an  unimportant  word  is 
wrongly  placed  upon  the  strong  pulse  of  the  measure  : 


T.  B.  Aldbioh. 


S.   B.   SOHLESINGEB. 


^^EJig 


•=& 


Up     to     her     cham  -  ber      win  -  dow,  A    slight  wire    trel    -   lis 

This  mistake  is  frequently  made  by  bungling  translators. 
Placing  the  ' '  A  "  on  the  last  beat  of  the  second  measure,  and 
giving  the  first  two  beats  of  the  third  measure  to  the  word 
"  slight  "  would  remedy  the  defect  without  injuring  the  music. 
Emphasis  is  a  special  force  given  to  a  word. 
In  the  clause  : 

'^  Dear  Lord,  I  cannot  let  thee  go," 
''cannot"  is  the  emphatic  word,  and  should  receive  special 
stress.     The  sentence,  "I  love  you,"  may  be  delivered  with 
the  emphasis  upon  either  of  the  three  words,  as  : 

I  love  you. 
I  love  you. 
I  love  you. 
the  meaning  being  different  in  each  case. 

Music  which  is  well-written  for  words  rises  and  falls  with 
the  ebb  and  flow  of  the  intensity  of  the  sentiment  of  the  text. 
But  there  is  music  which  fails  in  this  regard.  The  ordinary 
hymn-tune  must  necessarily  do  so  with  reference  to  some  of  the 
stanzas  used  in  connection  therewith. 

An  emphatic  word  will  sometimes  fall  upon  a  weak  pulse 
of  the  measure  or  a  weak  pitch  of  the  melody. 
Here  is  a  verse  from  one  stanza  of  a  hymn  : 


tt^S 


3 


1=q:-- 


So       let 


lips    and      lives    ex    -    -    press 


70  CHOIR   AND    CHORUS    CONDUCTING. 

In  this  line  an  unimportant  word,    let,   falls  upon  a  strong 
pulse  while  the  emphatic  word,  so,  is  placed  upon  a  weak  pulse. 


P 


t=t 


t 
So       let    our     works      and  vir    -    tues  shine 

In  the  line  next  above,  the  words  are  properly  placed  w^ith 
regard  to  accent  and  emphasis. 

Where  words  are  misplaced,  as  in  the  first  line  quoted, 
the}^  must  receive  proper  stress  independently  of  the  music,  so 
as  to  cause  the  sentiment  or  emotional  content  of  the  text  to 
stand  out  with  clearness. 

It  should  be  kept  in  mind  that  emphasis  may  easily  be 
overdone.  Conductors  are  sometimes  so  expressive  as  to 
appear  fussy  and  ridiculous.  Only  when  the  choral  conductor 
by  an  intelligent,  sympathetic  study  of  the  text,  has  made  its 
sentiment  or  emotional  content  his  own,  is  he  ready  to  secure 
an  interpretation  thereof  by  his  chorus. 

The  free,  well  trained  voice,  is  capable  of  a  multitude  of 
shades  of  tone-color.  By  tone-coloring  is  meant,  not  the 
passing  from  one  degree  of  loudness  to  another,  as  some  under- 
stand the  term,  but  giving;  to  the  voice  the  quality  appro- 
priate to  the  sentiment  of  the  words.  A  singer  should  always 
express. 

Tone-coloring  is  neither  shading,  nor  accent.  One  may 
say:  "I  love  you,"  yet  the  color  of  the  voice,  the  quality  of 
tone,  may  express  to  the  sensitive  ear  quite  a  different  senti- 
ment,— may  give  the  lie  to  the  words. 

Every  shade  of  sentiment  expressed  in  w^ords  has  its 
appropriate  tone-color.  There  is  a  wide  field  for  the  exercise 
by  the  choral  conductor  of  imagination  and  skill  in  getting  his 
singers  to  feel  as  he  does  the  emotional  content  of  words  and 
music.     If  he  can  make  his  singers  feel — if  he  can  stir  them 


THE    CHORAL    CONDUCTOR.  71 

SO  that  they  grasp  the  full  significance  of  the  text,  their  tones 
will  be  more  or  less  colored  by  their  feelings  and  they  will 
more  truly  interpret  the  composition. 

t  *  *  *  *  *  '  ^  The  emotion  which  the  singer 
calls  up  regulates  indirectly  the  entire  vocal  mechanism,  inas- 
much as  it  stirs  the  will  into  action  and  thus  compels  the 
plastic  vocal  mechanism  to  furnish  the  proper  tone-coloring, 
for  its  own  perfect  expression. ' ' 

Technical  preliminaries  to  success  in  coloring  tone  are 
those  which  develop  absolute  freedom  in  action  of  the  vocal 
instrument — breath  control,  with  relaxation  at  the  neck.  To 
these  may  be  added  the  study  of  a  correct,  full,  noble  emission 
of  all  vowels. 

A  vicious  method  of  tone  production  embarrasses  the 
throat  and  fixes  one  or  two  colors  on  the  voice.  There  can  in 
such  case  be  no  true,  expressive  tone-coloring  in  the  delivery 
of  the  text.  The  vocal  mechanism  is  not  plastic.  Diseases  of 
the  throat  and  nose,  such  as  catarrh,  fix  a  color  on  the  voice 
and  injure  its  expressiveness.  Singers  suffering  from  such 
diseases  may  be  charged  with  emotion,  but  they  cannot  properly 
and  fully  express  what  they  feel. 

The  use  of  various  degrees  of  force,  or  shading,  is  also 
indicated  as  one  of  the  means  of  bringing  out  the  sentiment  of 
the  text.  Loudness  is  not  always  appropriate,  or  impressive. 
Although  this  item  is  usually  determined  with  reference  to  the 
music,  yet  there  are  circumstances  under  which  the  shading 
should  be  decided  by  the  exigencies  of  an  adequate  delivery  of 
the  text,  irrespective  of  the  demands  of  the  music.  A 
conductor  of  fine  taste  will  modify  delivery  in  this  regard, 
avoiding  fussiness  over  details  and  too  violent  contrasts  of 
force. 


t  Philosophy  of  Singing. — C.  K.  Rogers. 


72  CHOIR   AND    CHORUS    CONDUCTING. 


Chapter  VII. 

A  poem  or  prose  text  arouses  in  the  composer  thoughts, 
imaginations,  feelings,  a  mood.  He  naturally  attempts  to 
express  himself  in  music.  Sometimes  he  sets  his  music  to  the 
text  which  has  interested  him.  The  more  sensitive  he  is  to  the 
play  of  thought  and  feeling  in  language,  and  the  greater  his 
command  of  the  materials  of  composition,  the  more  likely  is 
he  to  write  music  which  enhances  the  effect  of  the  text. 

The  choral  conductor  will  study  the  music  with  a  view  to 
discovering  and  bringing  out  its  special  relation  to  the  text 
and,  as  well,  its  specifically  musical  content.  He  will  determine 
the  rate  of  movement,  or  tempo,  phrasing,  accentuation,  shad- 
ing, tone  form,  tone  coloring  and  style  of  delivery  ;  in  short, 
the  interpretation  of  the  composition  as  a  whole. 

As  to  Interpfetation  in  general: 
Some  choral  conductors  are  satisfied  with  broad,  mass 
effects.  If  the  correct  pitches  are  sung,  the  singers  keep  time, 
and  develop  the  most  obvious  climaxes,  they  are  satisfied. 
They  do  not  care  to  trouble  themselves  much  about  the  finer 
details  of  choral  interpretation.  On  the  other  hand,  certain 
conductors  emphasize  details  to  such  an  extent  that  the  compo- 
sition is  heard  as  a  thing  of  shreds  and  patches,  and  some  so 
refine  the  choral  singing  as  to  take  all  virility  from  the 
performance. 

Good  music  pulsates  with  life  ;  rises  and  falls  in  billows  of 
sound.  There  is  a  curving,  wave-outline  of  the  phrase,  the 
section,  the  period,  and,  most  broadly,  of  the  movement.  It 
is  for  the  conductor  to  bring  out  these  curving,  wave-outlines. 
Thus  is  secured   breadth  of   phrasing  and  well-proportioned 


THE    CHORAL    CONDUCTOR.  73 

musical  expression.     Over-emphasis  of  detail  detracts  from  the 
effect  of  a  composition  as  a  whole. 

Richard  Wagner   has   some  suggestive   paragraphs  as  to 
Tempo  in  his  book  on  ^'Conducting,"  the  sub-title  of  which  is 
"A  Treatise  on  Style  in  the  Execution  of  Clasical  Music." 
He  says  : 

^^  I  received  a  good  lesson  at  Paris  in  1839,  when  I  heard 
tlie  orchestra  of  the  Conservatoire  rehearse  the  enigmatical 
Ninth  symphony.  The  scales  fell  from  my  eyes  ;  I  came  to 
understand  the  value  of  correct  execution,  and  the  secret  of  a 
good  performance.  The  orchestra  had  learned  to  look  for 
Beethoven's  melody  in  every  bar,  Ji^  >f<  >ii  and  the 
orchestra  sang  that  melody.     This  was  the  secret." 

''French  musicians,  in  the  main,  belong  to  the  Italian 
school ;  its  influence  upon  them  has  been  beneficial  inasmuch 
as  they  have  thus  been  taught  to  approach  music  mainly  through 
the  medium  of  the  human  voice.  The  French  idea  of  playing 
an  instrument  well  is  to  be  able  to  sing  well  upon  it.  And  as 
already  said,  the  superb  orchestra  sang  the  symphony.  The 
possibility  of  its  being  well  sung  implies  that  the  true  tempo 
had  been  found,  and  this  is  the  second  point  which  impressed 
me  at  the  time.  ^^  *  *  He,  (the  conductor),  found 
the  right  tempo  whilst  persistently  fixing  the  attention  of  his 
orchestra  upon  the  Melos  [melody  in  all  its  aspects]  of  the 
symphony. 

"A  right  comprehension  of  the  Melos  is  the  sole  guide  to 
the  right  tempo  ;  these  two  things  are  inseparable :  the  one 
implies  and  qualifies  the  other." 

Students  of  conducting  will  find  Wagner's  book  thought- 
provoking  throughout. 

t  Lussy  says  :  ' '  Relative  tempo,  however,  is  the  all-impor- 
tant matter  in  the  execution  of  a  piece  ;    everything  depends 

1i  Musical  Expression. — M.  M.  Lussy. 


74  CHOIR   AND    CHORUS    CONDUCTING. 

upon  it,  not  only  the  strength  of  the  metrical,  rhythmical  and 
expressive  accents,  but  also  the  character,  the  entire  rendering. ' ' 
Again  : 

'  '■  The  normal  tempo  *  *  >ii  can  never  be  the 
result  of  arbitrary  rules ;  and  depends  neither  upon  the 
composer  nor  the  performer.  In  fact,  the  true  tempo  of  a 
composition,  that  which  *  >ic  >k  most  exactly  inter- 
prets its  inmost  thought,  is  the  tempo  which  results  from  its 
actual  structure." 

The  student  of  conducting  is  recommended  to  read  and 
re-read  M.  Lussy's  chapter  on  ''Tempo." 

Wagner  and  Lussy  are,  in  this  discussion,  concerned  with 
pure  (  instrumental  )  music. 

The  nature  of  the  text  has  much  to  do  with  the  tempi 
adopted  for  a  vocal  work.     A  conductor  of   fine  feeling  and 
good  taste  will  instinctively  adopt  a  rate  of  movement  conso- 
nant with  the  prevailing  sentiment  of  the  words,  as  well  as 
with  the  character  of  the  music.     One  would  not  conduct  a 
movement  having  a  quiet,  contemplative  text,  such  as  : 
' '  One  sweetly  solemn  thought 
Comes  to  me  o'er  and  o'er," 
as  rapidly  as  would  be  appropriate  for  a  movement  having  a 
text  giving  expression  to  active,  or  intense  feeling,  as  : 
''  Make  a  joyful  noise  unto  the  Lord." 

The  greater  the  number  of  performers  and  the  larger  the 
auditorium,  the  slower,  within  reasonable  limits,  should  be  the 
pace  adopted.  This  to  give  clearness  to  the  delivery  and  time 
for  the  music  to  reach  and  properly  impress  all  hearers. 

It  is  well-known  that  composers  are  frequently  the  least 
competent  judges  as  to  the  proper  tempi  for  their  works. 
Their  printed  indications  of  tempo,  therefore,  even  when  given 
in  figures  for  the  metronome,  are  to  be  regarded  merely  as 
suggestions  or  approximations.  They  sometimes  omit  to  give 
directions  as  to  tempo,  or  do  so  in  a  careless  manner.     They 


THE    CHORAL    CONDUCTOR. 


75 


are,  with  the  printers,  liable  to  error,  in  affixing  metronomic 
figures  to  compositions.  The  conductor,  therefore,  cannot  rely 
exclusively  upon  the  marks  given  in  the  score  for  his  tempi. 

The  meaning  of  the  terms  used  by  composers  as  tempo- 
indications,  is  not  always  clear.  Usually  their  directions  are 
given  in  the  Italian  language.  Of  late  some  English  and 
American  writers  have  come  to  use  the  English  language  as, 
for  instance,  ''  Slowly  "  in  place  of  adagio. 

In  the  following  table  the  term  first  given  refers  to  rate  of 
speed  ;  the  second  has,  also,  a  reference  to  the  style  or  character 
of  the  music  ;  this  would,  naturally,  influence  the  tempo. 
Table  of  Words  Suggesting  Rate  of  Movement : 
Lento — slow  ;  Largo — slow  ;  broadly. 
Adagio — slowly.     Grave — heavy  ;  with  gravity. 
SIow«i  Adagissimo — slower  than  Adagio. 

Larghetto — not  so  slow  as  Largo  ;    Larghetto — 

rather  broad. 
Andante — ( ^ '  going  "  )  at  a  moderate  pace. 
Andantino — (  not  so  slow  as  Andante.     By  some 
Moderateo  used  to  indicate /S^oi^er  than  Andante). 

Moderate — at    a    moderate    pace  ; — Allegretto — 
rather  lively. 
r  Presto — quick  ;    Allegro — not  so  fast  as  Presto, 
Quick*  j  merry,  lively. 

(.  Prestissimo — very  quick  ;  Vivace — lively. 
Tempo  commodo — in  convenient  time. 
Tempo  ordinario — in   ordinary   time,    (also,    ^^a 
moderate  degree  of  speed"). 
f  The  effect  of  certain  of  these  words  is  modified  by  the 
use  of  other  words  attached  thereto,  as  ; 

Molto — muchj  very,  (Molto  allegro — very  quick  )  ; 
Piu — more  ;  Assai — very  ; 

Meno — less  ;  Poco — a  little, 

and  so  on. 

tSee  Budiments  of  Music. — Cummings. 


76  CHOIR    AND    CHORUS    CONDUCTING. 

Exactly  how  slow,  moderate,  or  quick  the  pace  of  a  move- 
ment should  be  is  not  indicated  by  the  use  of  the  above  quoted 
terms.  This  is  left  for  the  conductor  to  determine.  Some 
modern  composers  favor  omitting  to  a  great  extent  directions 
for  tempo  and  shading,  relying  upon  the  musicianship  and 
good  taste  of  the  interpreter.  Where  these  qualifications  are 
lacking,  it  makes  but  little  difference  whether  there  be  many 
or  few  printed  directions  as  to  tempo  and  expression. 

These  points  must  be  considered  as  having  a  bearing  upon 
the  question  of  the  proper  tempo  for  a  piece  of  choral  music  : 

1.  The  sentiment  of  the  text. 

2.  The  melodic  character  of  the  music. 

The  tempo  must  be  slow  enough  to  permit  of  the  full 
development  of  the  melodic  beauty  of  all  the  parts. 

3.  Its  harmonic  construction. 

When  changes  of  harmony  are  frequent  the  pace  must 
be  slower  than  where  the  chord  does  not  change  for  several 
beats. 

4.  Its  metrical  and  rhythmical  character. 

Singers  must  have  time  to  enunciate  and  sound  clearly 
every  word  and  note. 

When  there  are  frequent  changes  of  key,  metre  or  rhythm, 
the  tempo  must  be  relatively  slow. 

As  a  general  principle,  it  may  be  said  that  the  more  com- 
plicated, the  more  crowded  with  details  the  music,  the  slower 
the  tempo.  Performers  must  have  time  to  give  the  music 
adequate  utterance,  and  the  music  must  have  time  to  impress 
itself  upon  the  hearer. 

The  conductor  should  decide  upon  a  normal,  or  average 
tempo  for  each  movement,  and  should  make  departures  there- 
from only  for  a  good  musical  reason,  and  not  as  a  matter  of 
caprice,  or  simply  from  an  unintelligent  desire  to  be  expressive. 


THE    CHORAL    CONDUCTOR.  77 

Sudden  changes  from  a  slow  to  a  quick  tempo,  or  vice  versa, 
without  good  reason,  are  as  objectionable  as  the  habitual 
sudden  dropping  from  a  forte  to  a  pianissimo  so  much  favored 
by  male  quartets  who  think  in  this  way  to  make  something  of 
simple  music.  It  is  not  so  easy  as  it  would  seem  to  hold  to  a 
regular,  uniform  tempo  for  even  a  short  period.  Nor  is  it  easy 
to  remember  the  normal  tempo  of  a  movement,  especially 
under  circumstances  that  excite  the  conductor  or  performer. 
Practice  in  beating  a  movement  through  at  a  normal  tempo  to 
the  tick  of  the  metronome  is  therefore  recommended. 

An  old  vocal  score  of  ' '  The  Messiah  ' '  has  no  metronomic 
indications  as  to  tempo.  The  chorus  ''Glory  to  God,"  has  the 
direction  '  'Andante  allegro ;  "  or  "  going  "  at  a  moderate  pace, 
but  in  a  cheerful,  livel}^  manner.  The  modern  editions  give 
metronomic  figures,  which,  of  course,  are  much  more  definite 
as  suggestions  regarding  pace.  The  indication  for  the  above 
chorus  is:  Allegro.  J==  80  ;  (  |  time).  The  chorus,  ''And 
the  Glory  of  the  Lord  "  is  also  marked  Allegro,  but  the  metro- 
nomic indication  is  now  J=  118  ;  (|  time).  These  metronomic 
indications  are  suggestions,  and  no  conductor  is  bound  by 
them. 

A  comparison  of  these  choruses,  on  the  basis  of  sugges- 
tions already  made,  shows  that  the  music  of  "And  the  Glory 
of  the  Lord,"  will  stand,  and  calls  for  a  more  rapid  tempo  than 
that  of  "Glory  to  God."  The  first  has  plain,  simple,  straight- 
forward rhythms.  There  is  seldom  more  than  one  syllable  to 
a  beat  note,  and  frequently  more  than  one  note  to  a  syllable. 
The  accompaniment  marches  on  with  the  same  simplicity 
that  characterizes  the  voice-parts.  Changes  of  tonality  are 
infrequent. 

The  music  of  "Glory  to  God,"  in  the  accompaniment,  has 
frequent  scale  passages  in  thirds  and  sixths  with  many  notes  to 
a  beat,  and  this  points  to  a  somewhat  moderate  tempo.  There 
is,  also,  a  passage  of  imitation  in  which  syncopation  plays  a 


78  CHOIR   AND    CHORUS    CONDUCTING. 

part,  and  the  rhythmic  figure  requires  a  very  rapid  enunciation 
of  syllables  on  changing  pitches.  This  again  looks  toward  a 
comparatively  moderate  tempo.  The  antiphonal  passage  at 
the  words  ^'  good  will,"  in  which  the  sopranos  are  answered  by 
the  other  voices,  calls  for  a  rate  of  movement  w^hich  w^ill 
permit  of  a  dignified,  clear,  intense  delivery  of  the  w^ords  and 
changing  chords.  So,  witH  the  long  sustained  notes  given  to 
the  announcement  ^'And  peace  on  earth."  To  hurry  these 
last  mentioned  parts  of  the  chorus  would  be  to  reduce  the  one 
to  mere  chatter,  and  take  from  the  other  that  atmosphere  of 
repose  which  the  sentiment  of  the  words  demands. 

''A  H^Tun  of  the  Homeland,"  by  Sir  Arthur  Sullivan,  is 
marked  '  ^  moderato. ' ' 

I- 


^#==Fl=EEEg;^^+^— ^!==J 


l^^s 


# — 4—^ 


The     home  -  land,    the      home  -  land,  the      land     of  the    free — 

A  piece  of  this  kind,  with  its  simple  rhythms  and  plain 
harmonies  may  well  be  taken  at  a  fairly  rapid  tempo. 

^^Say,  Watchman,  what  of  the  Night?"  by  the  same 
composer,  is  an .  example  of  a  fine  anthem  w  hich  is  usually 
taken  too  slowly  in  all  the  full  chorus  parts,  except  the  last. 
The  music  thus  becomes  somewhat  tiresome,  the  more  so 
because  of  the  many  long  notes  and  the  doubling  of  the  bass 
in  the  lower  part  of  the  register. 

Congregational  hymns  should  be  started  at  a  pace  con- 
sonant with  the  sentiment  of  the  words  and  character  of  the 
music  and  kept  fairly  close  to  one  rate  of  movement.  Noth- 
ing worries  the  average  church-goer  who  wishes  to  join  in  the 
hymn  singing  more  than  a  frequent  change  of  pace  by  leader 
and  organ,  unless  it  be  the  sudden  change  from  loud  to  soft  of 
which  some  organists  are  quite  fond  when  trying  to  play  hymns 
with  expression. 

Where  there  is  a  somewhat  frequent  change  of  metre  and 


THE   CHORAL    CONDUCTOR.  79 

pace,  it  is  well  for  the  conductor  to  carefully  rehearse  these 
changes,  testing  himself  by  the  metronome.  The  scene  from 
^'  Elijah,"  (  Mendelssohn  )  between  Obadiah,  the  prophet,  and 
the  people,  (  Nos.  19-20,  Novello  edition  ), — a  combination  of 
solo,  recitative  with  intervening  choral  fragments,  and  a  final 
chorus, — is  recommended  for  study  in  this  connection.  So  also 
the  dramatic  oratorio,  ^'St.  Christopher,"  H.  W.  Parker;  the 
cantatas,  ''  The  Erl  King's  Daughter,"  Gade  ;  "  Fair  Ellen," 
Bruch ;  the  anthem,  "As  it  Began  to  Dawn,"  D.  Buck;  and 
the  part-song,  "Sleep,  Little  Birdie,"  Henry  Leslie. 

A  mechanical  adherence  to  tempo  is  undesirable.  There 
must  be,  for  the  purpose  of  full  expression,  not  only  a  difference 
in  the  pace  of  movements,  but  also  more  or  less  brief  varia- 
tions from  the  tempo  of  a  movement.  These  are  needed  for 
purposes  of  contrast,  the  emphasis  of  growing  or  of  diminishing 
force,  to  mark  the  change  from  grave  to  gay,  to  give  opportunity 
to  bring  out  fully  a  lyric  theme. 

Crescendos  are  not  necessarily  to  be  treated  as  though 
marked  accellerando ;  nor  is  a  gradually  ascending  passage 
always  to  be  hurried.  Sometimes  an  effect  of  great  breadth 
and  power  is  obtained  by  delivering  an  ascending  and  crescendo 
passage  with  a  gradual  decrease  of  speed.  A  well  graduated 
crescendo,  made  at  a  steady  pace,  has  a  grand  effect.  A  dimin- 
uendo is  not  necessarily  to  be  delivered  ritardando,  although 
poorly  trained  choirs  seldom  keep  the  pace  when  force  is 
lessened.  They  are  prone  to  sing  slowly  when  asked  to  sing 
softly. 

A  change  from  the  major  to  the  minor  mode  is  often 
mistaken  for  a  direction  to  sing  more  slowly.  A  slight  pause, 
either  upon  the  last  chord  of  a  period,  or  between  two  periods 
of  contrasted  metre  or  tempo  has  sometimes  a  good  effect. 
Care  should  be  taken,  however,  not  to  interpolate  the  pause 
between  periods  or  movements  which,  from  the  nature  of 
words  and  music,  should   be  closely   connected.      Full  value 


80  CHOIR   AND    CHORUS    CONDUCTING. 

sliould    be   given   to   final   chords — a   point   on    which    many 
singers  err. 

As  studies  in  expressive  variation  of  tempo,  these  selec- 
tions are  suggested  : 

'' Ah,  What  Shall  We,"  (  ifons  et  Vita),  Gounod. 

^'Blessed  Jesu,   Fount  of  Mercy,"     {Stabat  Mater  )y 
Dvorak. 

'^  O  For  a  Closer  Walk  With  God,"  M.  B.  Foster. 

''  The  Day  is  Past  and  Over,"  J.  C.  Marks. 

' '  The  Parting  Kiss, ' '   Pinsuti. 

^' A  Highland  Mother's  Lullaby,"  E.  B.  Smith. 
Polyphonic  music  must  be  taken  at  a  pace  which  will  give 
Inll  opportunity  for  making  clear  the  ''walk"  of  each  part. 
Boe  ''To  Man,  God's  Universal  Law,"  (Samson)  Handel; 
' '  In  that  Day, ' '  Sir  George  Elvey,  and  the  Bach  Church 
Ca^ntatas. 


Chapter  VIIL 

The  choralist  uses  accent  and  emphasis,  primarily,  to 
bring  out  the  meaning  of  the  words.  Musical  accentuation  is 
subordinated,  w^hen  necessary,  to  this  purpose. 

The  metrical  accent  should  always  be  felt,  as  a  kind  of 
persistent,  unvarying  under-pulse.  Good  phrasing,  however, 
frequently  requires  its  subordination.  That  is  an  ill-trained 
choir  which,  in  all  styles  of  music,  marks  with  force  the  first 
pulse  of  each  measure, — 07ie-two-three,  owe-two- three. 

Here  is  an  excerpt  from  Henry  Leslie's  part  song,  ^'  Sleep, 
Little  Birdie:" 

Allegretto  non  iroppo. 

I 1 


i 


^ 


^^ 


abt 


iiwie    birdie, ...    the  day  is  past  and  gone,  Take  thy  bliss-fdl 


THE   CHORAL    CONDUCTOR. 


81 


To  mark,  decidedly,  the  accent  on  the  first  beat  of  each 
measure,  would  break  the  phrases  into  fragments.  Equally 
inartistic  is  the  practice  of  ' '  kicking  out ' '  the  last  note  of  a 
phrase  ;  as  at  *  : 


^ 


=-#- 


PiNSUTI— 

The  Sea  hath  its  Pearls." 


Yet      great 


IS 


my 


heart; 


P 


Faning — 
The  Miller's  Wooing." 


m 


^ 


^^ 


Wea         -         -         -         -        ri   -    ly. 

and  of   accenting  a  note  merely  because  it  is  taken  by  skip 
from  a  lower  note,  as  at  *. 

PP 


Gounod— 
"Night." 


^ 


B:±^. 


^i=^ 


^^^ 


With    noise  -  less  foot  -  steps   tread  -  ing,    ev  -  'ry      val  -  ley 

When  verbal  emphasis  is  overdone,  singing  ceases  and 
declamation  takes  its  place. 

Usually  the  strong  accents  take  care  of  themselves ;  the 
secondary  accents  need  special  attention.  When  a  beat  is 
divided,  the  first  note  of  the  I'esulting  group  receives  an  accent 
commensurate,  in  force,  with  its  position  in  the  measure. 
For  example  at  each  *  below 


f#^^^ 


?=1^ 


m 


is  found  a  measure  of  six  eighth-notes.       Upon  the  accentua- 
tion of  each  measure  will  depend  the  hearer's  conception  of  the 


82 

rhythm, 
passages : 


CHOIR    AND    CHORUS   CONDUCTING. 

The   measures   are   extracted   from   the    following 


Mercadante— 
"  Far  Away  the  Camp  Fires. 


m 


^ 


fc£E? 


t^ 


Shall  you    ev  -  'ry 


iiiS^ 


de    -    fend 

Mackenzie — 
Rose  of  Sharon. 


:r=p: 


t=^t 


Fol-low    the  track    of     the 
In  passages  like  the  following  : 


flocks, 


Brahms. 


Ah!        what        then  is  heart's        de      -      light! 

the  first  note  of  each  group  on  one  beat  must  be  accented. 
The  legato  must,  however,  be  preserved. 

Chromatic  (dissonant)  tones  must  be  delivered  with  firm- 
ness— otherwise  they  will  appear  to  have  been  sounded  by 
mistake. 

Syncopation  is  a  transference  of  accent  from  its  regular 
place  in  the  measure  : 

Haydn— 
^  "  Creation." 


heal  -  ing     plant 


i 


/ 


Mendelssohn- 
"Lauda  Sion." 


BEi 


-^- 


Praise      Je    -    ho   -   vah, ....       bow       be   -   fore        Him. 
In  such  passages  pains  must  be  taken  to  deliver  the  synco- 


THE    CHORAL   CONDUCTOR. 


83 


pated  note  with  firmness  and  to  sing  with  well-sustained  tone. 
Suspensions  must  be  attacked  firmly,  and  well-sustained,  as  : 


Gounod — 
Mors  et  Vita. 


Which    once to         A     -     -     -     bra  -  ham. 

The  marcato,  by  some  writers  interchanged  with  martellato, 
indicated  thus  :  J  J  ,  requires  that  the  notes  be  sung  with  a 
slight  accent,  yet  closely  connected. 

The  stentato  is  indicated  by  the  word,  and  by  the  repetition 


of  the  accent  mark. 


and  is  described  as  ''a  heavier 


marcato. ' ' 

t  Sieber  says  of  the  martellato,  that  it  requires,  like  the 
stentato,  heavy  accentuation,  but  the  tones  are  more  separated, 
forming  a  combination  of  the  staccato  and  the  stentato. 

An  intelligent,  elegant  pronunciation  of  the  words  in  truly 
vocal  music,  will  often  suggest  certain  niceties  of  secondary 
accentuation.  In  working  up  the  finer  class  of  modern  music 
for  choirs,  a  conductor  is  constantly  called  upon  to  exercise 
good  taste,  as  well  as  technical  knowledge,  and  in  the  depart- 
ment of  accentuation  as  much  as  anywhere. 

'^The  Sea  hath  its  Pearls,"  Pinsuti,  and  '^The  Spanish 
Serenade,"  E.  Elgar,  are  recommended  as  studies  in  refined, 
expressive  accentuation. 


t  Op.  cited. 


84 


CHOIR   AND   CHORUS   CONDUCTING. 


Chapter  IX. 

Phrasing,  as  here  considered,  is  the  proper  punctuation  of 
words  and  music.  The  divisions  of  the  text  must  be  marked  so 
that  the  words  make  sense. 

The  notes  which  rhythmically,  melodically,  and  harmoni- 
cally fall  into  groups,  must  be  delivered  as  phrases.  AVhen 
the  music  is  well  adapted  to  the  words,  the  latter  usually 
indicate  the  proper  phrasing  of  the  music. 

A  knowledge  of  musical  structure  is  necessary  if  the  con- 
ductor is  to  be  certain  of  the  phrasing  of  each  part  in  the  various 
styles  of  vocal  composition. 

In  choral  singing  phrasing  is  affected  by  the  exigencies  of 
breath-taking.  Breadth  of  phrasing  necessitates  infrequent 
breath-taking. 

In  some  instances  the  phrasing  of  all  the  parts  is  simulta- 
neous ;  in  others,  as  in  the  excerpt  given  below  : 


J.  G.  Callcott — 
How  Sweet  the  Moonlight. 


jrtej  J-4kJ— J 


a 


3 


W^ 


^m 


Here  will    we    sit,      and     let 


the      sounds,  the      sounds  of 


:^=^ 


-^ — K 


U 


^^ 


W    <^    ^ — ^ 

and  let    the        sounds, the  sounds  of 


will  we    sit, 


each  part  has  its  own,  independent  phrasing. 

In   the   following   excerpt   the   two   parts   of    the   verse, 


THE   CHORAL    CONDUCTOR. 


85 


separated  by  the  comma,  must  be  distinguished  in  delivery. 
The  musical  phrase,  however,  must  be  sung  with  one  breath  : 


Gounod — 
"  Night." 


^ 


i=± 


m 


Soft     and 


* 
dark,      o'er 


s 


the     hills 


P 


^#=«: 


S 


Soft     and     dark,      o'er      the     hills; 

In  music  of  a  fugal  nature,  the  words  give  little  indication 
of  the  phrasing.  They  are  repeated  again  and  again,  and 
often  with  a  view  merely  to  furnishing  material  upon  which 
the  singers  may  vocalize.  Such  music  must  be  phrased  with 
particular  reference  to  its  formal  construction.  See  the  choral 
works  of  Bach  and  Handel. 

When  taking  breath  between  phrases,  as  in  the  following  : 


^S 


J  ==72. 


C.  V.  Stanford — 

"  Corydon,  Arise." 


iE^E^^^^ 


My  true  love  doth    ex   -   eel    For  sweet  -  ness,   for 

the  general  rule  is  :  Bob  the  last  note  of  a  phrase  of  sufficient 
time  for  taking  the  ' '  half -breath  ' '  and  sound  the  first  note  of 
the  succeeding  phrase  strictly  in  time. 

The  traditional  rule  for  the  phrasing  of  florid  passages 
requires  that  they  should  be  sung  with  one  breath.  Some  of 
the  long  runs  in  the  choruses  of  the  old  writers  are  trying  to 
choralists,  but  a  careful  husbanding  of  the  breath,  particularly 
on  the  first  notes  of  such  passages,  will  usually  make  it  possible 
to  deliver  them  without  division.  This  broad  phrasing  adds 
much  to  the  impressiveness  of  the  music. 


CHOIR   AND   CHORUS   CONDUCTING. 


Where  the  construction  of  a  passage  permits,  it  is  allowable 
to  divide  it  by  repeating  the  words  as  in  the  following  excerpt 
at*: 


Haydn— 
"  Creation." — "Awake  the  Harp." 


state 
t  Breath  may  be  taken  : 
Where  the  direction  of  a  run  changes  : 


ly      dress. 


Rossini— 
"Stabat  Mater. 


^^^^^^m 


^^^ffm 


Where  the  general  direction  of  a  run  is  interrupted  by  a  skip: 

Handel— 
"Acis  and  Galatea."  — 
"  Wretched  Lovers." 


P^m-^E^ 


zi--=i=i=^^'^:3i=*=i^. 


6i  -  ant     roars . 


'^^-i^^m?=i'^=^^^^i!i&:^^ 


*^0    --#- 


^=^^^^^^f^^^^^^ 


how    the 


t  See  HandbooTc  for  Singers. — N.  Croker. 


THE    CHORAL    CONDtJCTOR. 

After  a  syncopated  note : 


87 


Rossini— 
"  Stabat  Mater. 


^^^^^^E 


^r:5=* 


EtE^: 


At  an  extended  skip 


Haydn— 
'  Creation."—"  The  Lord  is  Great. 


glo  -  ry     lasts 


for. 


In  cases  where  it  is  absolutely  necessary  to  divide  a  florid 
passage,  a  number  of  the  singers  may  be  instructed  to  take 
breath  at  one  point,  and  the  remainder  at  another.  In  this 
way  the  break  in  the  flow  of  the  tone  may  be  disguised. 

The  final  chorus  of  Rossini's  ''  Stabat  Mater" — an  allegro 
in  I  measure, — has  a  pedal  for  the  basses  of  nine  measures. 
Such  passages  may  be  treated  as  suggested  in  the  paragraph 
next  above. 

t  Sabilla  Novello  says  : 

^ '  In  taking  a  half -breath  in  the  middle  of  a  sentence,  the 
time  of  inhalation  should  be  taken  from  the  note  which  follows 
respiration,  unless  the  musical  phrase  requires  this  note  to 
retain  its  full  value  of  duration." 

This  does  not  apply  to  breath  taking  between  phrases. 

t  Voice  and  Vocal  Art. 


88 


CHOIR    AND    CHORUS    CONDUCTING. 


In  general, 

Breath  should  not  he  taken : 
Immediately  before  the  strong  pulse  of  the  measure 

* 


i^E^i-^^^^^^^ 


Between  a  chromatic  note  and  the  note  next  succeeding  : 


Rossini — 
"Stabat  Mater. 


fefga^^^^i^ 


>^- 


Between  the  leading  tone  and  the  tonic  ;  see  f  above,  and  : 

Handel, — 
"  Dettingen  Te  Deum." 


m--^ffW^^i^^^m^ 


AU. 


Between  a  suspension  and  its  resolution  ;    except  where 
the  resolution  is  interrupted  by  skip  : 

Handel— 
"Samson."     "  To  Man  God's  Universal  Law." 


m 


J- 


^--j^gffl^ 


lOi'ftsll 


^ 


W 


THE    CHORAL    CONDUCTOR.  89 

These  rules  are  general,  not  invariable. 
Liitgen  gives  these  rules  : 

' '  Avoid  taking  breath — between  the  article  and  a  noun  ; 
the  article  and  an  adjective  ;  an  adjective  and  a  noun  ;  a  perso- 
nal pronoun  and  a  verb  ;  the  constituent  parts  of  compound 
tenses.     Avoid  taking  breath  after  a  preposition. ' ' 

The  following  selections  are  suggested  for  study  in  regard 
to  ^ '  phrasing  : ' ' 

''Good  Night,  Beloved,"  Pinsuti. 

''Thou  Art  Mighty,  O  Eros,"  (Psyche)  Gade. 

"Hail,  Smiling  Morn,"  Spofforth. 

"Love  Me  Little,  Love  Me  Long,"  H.  Lahee. 

' '  How  Lovely  are  the  Messengers, ' ' 

(St.  Paul)  Mendelssohn. 
*'  Urbs  Syon  Unica  "  (Hora  Novissima)  H.  W.  Parker. 


Chapter  X. 


Varying  the  power  of  tone  on  a  note  or  a  group  of  notes 
is  called  shading. 

The  ear  demands  variety.  The  motive,  the  phrase,  section, 
period,  the  movement,  should  be  shaded  with  a  just  apprecia- 
tion of  the  expressive  value  of  the  rise  and  fall  of  power  of 
tone,  and  so  as  to  give  each  member  of  the  work  its  due, 
relative  force. 

In  order  to  determine  the  appropriate  shading  both  text 
and  music  must  be  studied.  When  words  are  repeated,  (except 
where  they  are  used  merely  to  furnish  syllables  on  which  to 


\ 


90  CHOIR    AND    CHORUS    CONDUCTING. 

sing,  as  in  certain  fugal  choruses),  it  is  usually  for  the  sake  of 
emphasis.     This  would  ordinarily  indicate  an  increase  of  force  : 

Bach— 
"  Ode  of  Mourning." 


-tte=f=^=f' 


^=^:^±=t^^Et-:E^ 


^^L^ffzz:.^^^ 


:tr_=ii^=z5zz^=:!^=g?3^ 


0  Fa  -  ther,  Fa  -  ther,         in  Thy     mer  -  cy, 

It  is  a  mistake,  however,  to  place  too  much  emphasis 
upon  details.  The  shading  should  be  consonant  with  the 
general  character  of  words  and  music,  and  not  degenerate 
into  mere  fussiness  over  particular  words  or  phrases. 

t'^The  more  complex  a  passage,  and  the  more  metrical, 
rhythmical,  tonal  and  modal  exceptions  it  contains,  the  more 
sonority  it  requires." 

Ascending  passages  should  generally  be  delivered  with  a 
crescendo,  and  descending  passages  with  a  decrescendo.  The 
crescendo  is  sometimes  indicated  for  a  descending  passage  : 


E.  Elgar — 
"  Spanish  Serenade.' 


iftis 


33^^e^ese3 


F=? 


Fold,      fold   thy    pin  -  ions    light,  Fold,     fold    thy  pin  -  ions 


The  ''swell" — a  gradual  increase  followed  by  a  like 
gradual  decrease  of  power  of  tone — may  be  made  to  cover  one 
note,  a  phrase,  or  a  larger  division. 

An  old  saying  runs  thus  : 

"  Do  something  with  a  long  note.'* 

t  M.  Lussy  :  op.  cit. 


THE    CHORAL    CONDUCTOR. 


91 


Rossini— 
"  Inflammatus. 


iffFF^JH 


gra 


When  a  section  is  thus  shaded,  the  effect  is  good  : 


PlNSUTI — 

The  Sea  Hath  Its  Pearls. 


0 


■gr  o       — r^ — ^'=^^ — 


4 Ml- 


.  my  heart  hath   its     love. 


But    my    heart,    my 


The  first  part  of  the  choral  movement  following  the 
soprano  solo  in  ' '  Lovely  Appear, ' '  (  Redemption ) ,  has  this 
melodic  outline : 


,fc 


^P 


P- 


mf: 


-P 


The  passage  is  for  voices  in  unison  and  is  marked  p.  The  rise 
and  fall  of  the  melody,  however,  would  suggest  a  slightly 
marked  swell,  as  indicated  below  the  excerpt. 

Repeated  notes  seem  to  call  for  an  increase  of  force  : 


Schumann— 
"  Gipsy  Life." 


i 


rn~j  i  i  i=i 


A      troop     of     the    vag  -   a  -  bond      gip  -  sies. 


92 


CHOIR    AND    CHORUS    CONDUCTING. 


When  a  composer  repeats  an  idea,  its  delivery  should 
ordinarily  be  varied.  Ascending  imitation  will  usually  call 
for  greater  force  :     [See  note.] 


* 


p 


^ 


mf 


Schumann— 
"Gipsy  Life." 
=-         mf  2. 


1^=m: 


t=it 


P— =^^ 


^^L. U u/- 


s 


tc=t 


Worn     out     with   the    dance    now    in      slum  -  ber   they   lie,     While 
-= / :  -=- 


U    L    r 


branch    -    es       are 


rust 


ling 


soft 


lul   -  la  -   by. 


A  fine  example  of  the  artistic  shading  of  a  descending  pas- 
sage is  found  in  the  ^ '  The  Sea  Hath  Its  Pearls, ' '  of  Pinsuti. 
Indeed  this  part-song  affords  an  illustration  of  many  effective 
uses  of  variation  of  accent  and  tonal  power  as  a  means  of 
musical  expression.     The  passage  referred  to  is  this  : 


Pinsuti — 
The  Sea  Hath  Its  Pearls. 


/ 


^ 


w^^m 


^ 


^ 


Are       melt  -   ing     a  -  way      with 


love, 


a   -  way      with 


dim. 


P 


PP 


^mm 


-^1-=1- 


^ 


love,       Are   melt  -  ing     a  -  way,     a  -  way    with     love. 

Note  : — To  those  who  mistakenly  habitually  seek  to  express  a  particular 
word,  rather  than  to  give  expression  to  the  general  sentiment,  and  only 
exceptionally  to  emphasize  a  single  word,  it  may  seem  inappropriate  to  call 
for  extra  force  upon  the  word  ' '  slumber  ' '  and  the  word  ' '  soft. ' '  A  broader 
view  of  interpretation  will  show,  in  the  first  placse,  that  this  text  is  not  dra- 
matic, or  emotional,  but  merely  narrative,  and  mildly  descriptive  ;  and, 
secondly,  that  the  shading  indicated  does  not  antagonize  the  meaning  of 
either  sentence,  taken  as  a  whole.  It  is  a  purely  musical  and  legitimate 
effect. 


THE    CHORAL    CONDUCTOR. 


93 


It  will  be  noted  that  the  melodic  outline  of   the  above 
excerpt  is  a  descending  scale  passage  : 


II- 


and  though  there  is  an  intermediate  rise  and  fall  of  the  wave 
of  sound,  within  the  section,  the  appropriate,  natural  dynamic 
variation  is  a  broad  decrescendo — like  the  gradual  subsidence  of 
that  wave  which  has  been  created  by  a  sudden  disturbance  of 
the  surface  of  a  pool. 

Sometimes  a  repetition  (  imitation  )  of  an  idea  is  effective 
when  delivered  piano,  in  contrast  with  a  preceding  forte : 


IrI 


m 


/I. 


P2. 


Massenet— 
"Eve." 


ruTJT^ 


-(22- 


# 


feEJ3 


V- 


Viens  !  sois     tri  -  om-phan-te,      Et      sois       a  -  do  -  re     -      e 

Sudden  changes  from  loud  to  soft,  or  soft  to  loud  must  be 
made  with  discrimination. 

When  a  series  of  high  notes  has  been  delivered  with 
force,  and  the  melody  drops  to  a  low  pitch,  the  ear  welcomes  a 
change  to  soft  power  : 


/ 


p 


Dvorak— 
Stabat  Mater.' 


^^ 


Fa<3. 


ut 


te    -  cum  lu 


ge  -  am. 


The  following  excerpt  shows  an  effective  use  of  the  abrupt 
change  of  tonal  power  : 

Mozart — 

-  "Twelfth  Mass." 

Allegro,  f  p  p 


$ 


'^^'=M=^- 


Et 


in      ter    -  ra 


pax, 


t=^ 


^ 


pax, 


94  CHOIR   AND    CHORUS    CONDUCTING. 

Also  the  following  from  a  favorite  anthem  : 


^ 


-ff- 


pp. 


Dudley  Buck— 
"Rock  of  Ages." 


S 


:«: 


d?lzit 


-w^-^ 


Rock      of    A  -  ges,    cleft     for  me, 


Let    me  hide  my 


The  following  excerpt  shows  a  sudden  change  from  soft  to 
loud  tone.  The  poetical  and  musical  ideas  are  emphasized, 
upon  repetition,  by  the  change  of  power  : 


ftl 


Andante  con  moto. 


m 


3 


i 


F.  W.  WODELL— 

"  The  Lord  is  Thy  Keeper." 


m 


^ 


p^^-A 


^=i=^ 


-A— ^ 


pp_ 


He   re  -  stor   -   eth    my    soul,    He    re  -  stor  -  eth  my     soul. 


A  well-defined  melody,  appearing  first  in  one  voice-part 
and  then  in  another,  must  be  brought  out  by  shading : 


^m 


Andantino. 


J.  C.  D.  Parker.— 
'•The  River  Sprite." 


K-^ 


^    ^    1^' 


^^"i;j;ji^^^,M.^ 


The     lil  -  y    clos  -  es   its    chal  -  ice,  a  -  float    on  the  riv  -  er's  breast, 


i 


^ 


mf 


2. 


The 


star      of 


eve 


^ 


2z:± 


H4-r 


etc. 


w 


^—»- 


^F=^ 


i    ^ 


^ 


Alto.—'ih6      star      of       eve       is     her       watch    -     Hght, 


THE   CHORAL   CONDUCTOR. 


95 


^m 


U-^- 


M^ 


Light 


mists 


f-^^ 


etc. 


^=W=^=^^ 


i2^ 


Light   mists   roll    o    -    ver  the 


nv     -      er, 


In  excerpt  No.  1  above,  the  melody  is  given  to  the 
alto,  and  in  No.  2  the  alto  has  it ;  in  No.  3  it  is  given  to 
the  bass  ;  later  on  it  appears  in  the  soprano,  with  a  change 
of  key.  By  judicious  shading  it  can  always  be  given  the 
prominence  which  belongs  to  it  as  one  of  the  themes  upon 
which  the  piece  is  constructed. 

Where  a  clearly  defined  melody  appears  in  the  upper 
voice-part  only,  the  remaining  voices  supplying  merely  the 
harmonic  basis,  the  shading  should  be  so  managed  as  that  the 
upper  part  obtains  sufficient  prominence  to  make  the  theme 
easily  discernible.  This  is,  in  part,  a  question  of  balance  of 
voices  in  the  choir. 

Many  hymn  tunes  need  this  treatment.  The  relatively 
high  pitch  of  the  soprano  part,  however,  makes  it  somewhat 
prominent,  and  care  must  be  taken  not  to  cover  up  the  other 
voices.  The  division  having  the  melody  should  deliver  it  as 
would  a  good  soloist,  shading  it  as  one  voice,  and  the  other 
parts  should  be  subordinated  to  this  delivery.  In  the  following 
excerpt  from  a  favorite  anthem,  a  well-defined  theme  is  given 
to  the  chorus  soprano,  following  and  carrying  on  a  melody  sung 
by  a  solo  soprano.  It  should,  therefore,  be  so  shaded  as  to 
bring  out  the  melody  :  the  alto,  tenor  and  bass  being  somewhat 
subordinated  to  the  upper  part. 


96 


CHOIR  AND   CHORUS   CONDUCTING. 


H.  R.  Shelley— 
Hark,  Hark,  My  Soul.' 


fcfe 


^ 


^^^^ 


a 


i 


^=f 


And,      thro'      the    dark,        its      ech  -  oes  sweet  -  ly      ring    -  ing, 


^^ 


-f-^ 


i 


^ 


^ 


i^ 


r-r  ■  r-r  r  'r 


f 


r 


I   I   ,    I 

The        mu  -  sic       of      the      gos  -  pel      leads 


us        home. 


^^ 


M,-/    J    ^    -^■^-     ^.-^ 


^ 


4==^ 


A  composition  for  chorus,  with  an  independent  solo  part, 
(or  parts)  must  be  shaded  in  such  a  manner  as  that  the  vocal 
obbligato  shall   be  clearly  discernible. 

As  studies  in  this  department,  these  pieces  are  suggested  : 
Contralto  solo  and  chorus — To  Dust  His  Glory,  (Samson) 

Handel. 
Tenor   solo   and   chorus   of   female  voices — The^'Wave 

Sweeps  My  Breast,  (Crusaders),  Gade. 
Soprano   solo   and   chorus — Happy   Are  We,    (Mors   et 

Vita),  Gounod. 
Baritone   solo   and   chorus   of    female   voices — On   the 

Lake  of  Traum — F.  Thieriot. 
Tenor  or  soprano  solo  and  chorus  of  male  voices — Hie 
Thee,  Shallop — Kiicken. 


THE    CHORAL    CONDUCTOR. 


97 


Soprano  and  Contralto  duet  with  chorus — Christmas— 

(Anthem),  H.  K.  Shelley. 
Soprano  solo  and  female  chorus — O  Sing  to  God,  (Noel), 
Gounod. 
Polyphonic  vocal  music  requires  particular  treatment.     In 
the  old  sacred  music,  madrigal,  etc.,  the  voice-parts  are  of 
equal  importance.      Each   in  turn  may  announce  a  subject. 
Each  proceeds  as  an  independent  part,  as  one  of  the  threads 
used  in  weaving  the  contrapuntal  web. 

The  firm,  steady,  organ-like  sustaining  of  tone,  whether 
loud,  half-loud,  or  soft,  is  a  prime  requisite  to  the  proper 
delivery  of  this  music. 

Successive  announcements  by  different  voices  of  one  sub- 
ject must  be  delivered  with  like  power  or  shading.  In  the 
following  excerpt,  as  each  voice  enters,  the  first  note  of  the 
subject  is  delivered  with  bold  accentuation.  The  crescendo 
proper  is  called  for  only  after  all  the  voices  have  entered. 


Palestkina — 
"Stabat  Matex." 


Soprano. 


Alto. 


Tenor. 
8ve.  lower. 


Bass. 


Cor  -   di  -  me 


98 


CHOIR   AND    CHORUS    CONDUCTING. 


(1 


y 


Handel— 
'Messiah." 


Soprano. 


Aito. 


Tenor. 
8ve.  lower. 


Bass. 


fefpg^^^^^^g^Ngj^ 


1 

A    -    men,       A 


'hjx 


(3)/ 


^^ 


^ 


zi±ii 


^ 


men,      A    -    men.         A 


f^M^\^^h=^r^^^^^^ 


men, 


w 


^ 


y  (4)        cresc. 


±^ 


f^^^^m 


men, 


Below   is    given   another   suggestive    illustration   of    the 
management  of  successive  '• '  entrances  : ' ' 


mp 


Antonio  Lotti — 
"Crucifixus" 
cresc 


1st  Tenor. 
8ve.  lower. 


2d  Tenor. 
8ve.  lower. 


1st  Bass. 


2d  Bass. 


^ 


*^ 


^ 


mp  dolce. 


Cni  -  ci 


± 


w 


Cru  -  ci    -  fi 


mp  dolce. 


cresc  .  .  . 


m 


^ 


:S£ri 


'm 


cm  -  ci  -  fi 


xus,       cru 


m 


mp  dolce. 


cm  -  ci  -  fi 


EtEte 

LLJJ± 


-^-H^ 


p 


a 


f^ 


THE   CHORAL    CONDUCTOR.  99 

See  also  the  madrigal  ^ 'Charm  Me  Asleep,  by  Henry  Leslie," 

The  principle  governing  the  shading  of  polyphonic  music 
is  this  :  To  preserve  so  far  as  possible  the  equality  of  the 
voices, yet  to  make  clear  the  announcements  of  the  subjects, 
points  of  imitation,  etc.,  as  they  occur. 

A  given  voice  may  have  an  important  part  to  play  in  the 
weaving  of  the  polyphonic  web,  but  if  it  be  overpowered  by 
the  other  voices,  the  pattern  as  worked  out  will  sound  faulty, 
or  incomplete.  It  is  the  free  play  of  voice-part  around  voice- 
part  in  well-written  polyphonic  music,  in  which  each  voice 
preserves  its  identity,  yet  is  heard  but  as  one  of  several  melodic 
threads  of  a  beautiful  musical  lace-work,  which  helps  to  give 
such  music  its  peculiar  charm. 

The  old-style  oratorios,  in  which  the  choruses  are  for  the 
most  part  written  in  fugal  style,  are  often  performed  in  a  most 
inartistic  manner.  The  idea  seems  to  be  that  these  choruses 
can  only  be  sung  in  the  most  direct,  mechanical  way,  that  is  to 
say,  without  any  attempt  at  shading  or  coloring.  Perhaps  no 
oratorio  has  suffered  so  much  in  this  way  at  the  hands  of 
conductors  as  has  ' '  The  Messiah. ' '  There  is  a  power,  an 
effectiveness  in  its  choruses,  even  when  sung  with  mechanical 
monotony,  which  tempts  to  its  performance. 
Fetis  says  : 

^ '  The  chorus  ' '  For  Unto  Us  a  Child  is  Born, ' '  is  instinct 
with  an  ineffable  joy  *  *  *  The  notes  (of  the  principal 
theme  and  its  repetition)  should  *  *  *  be  soft  and  sweet. 
*  *  *  Then  comes  that  exclamation,  so  energetic  in  the 
English  version — ''  Wonderful !  " — here  the  whole  power  of 
the  voices  should  be  used.  Here  should  appear  with  irresist- 
ible power  the  happiness  with  which  the  whole  world  is  filled 
at  the  thought  of  its  salvation.  After  this  burst  the  first 
sentiment  re-appears,  and  this  alternation  of  different  impres- 
sions forms  one  of  the  most  perfect  pieces  of  its  kind  that 
could  be  quoted. ' ' 


100  CHOIR    AND    CHORUS    CONDUCTING. 

The  chorus  ^'Behold  the  Lamb  of  God"  (  Messiah  ),  is 
charged  with  feeling,  and  has  many  points  of  musical  interest 
which  call  for  expressive  shading.  The  delivery  of  the 
exclamatory  phrase  '^  Behold  the  Lamb  of  God  !  "  by  the  alto, 
soprano,  bass  and  tenor,  in  succession  should,  in  each  instance, 
be  well  marked.  When  all  the  voices  have  entered  and  are 
sounding,  as  in  measure  9,  a  ''swell"  may  begin  which  shall 
have  its  climax  at  the  entry  of  the  soprano  at  ' '  Behold ' '  in 
measure  10,  and  decrease  in  power  to  the  end  of  measure  12. 
At  measure  13  a  crescendo,  culminating  at  measure  15,  may 
begin.  The  following  phrases  (measures  16  and  17)  ma}^  be 
delivered,  the  first  wdth  moderate  and  the  next  (a  repetition), 
with  considerable  force.  Then  begins  a  long  B-flat,  the  domin- 
ant, for  the  soprano,  with  a  strongly  marked  rhythmical 
figure,  sung  by  the  remaining  voices,  moving  below  it.  This 
is  followed  by  another  long  sustained  dominant,  D,  given  to 
the  soprano,  with  a  strong  figure  moving  underneath,  as 
before.  These  long  tones  should  be  sustained  with  organ-like 
firmness.  The  lower  parts  may  be  shaded  to  conform  with  the 
variation  of  force  suggested  by  the  rise  and  fall  of  the  melodic 
outline,  the  intensity  of  all  the  parts  naturally  subsiding  some- 
what as  the  movement,  with  a  well-marked  cadence,  draws  to 
a  close. 

This  mode  of  trea,tment  (  by  shading  )  gives  to  the  standard 
oratorio  chorus  an  interest  which  it  cannot  have  when  sung  in 
the  usual  fashion, — namely,  as  though  it  were  an  organ  piece 
WT-itten  for  an  instrument  of  one  stop  and  without  a  swell 
pedal. 


THE   CHORAL   CONDUCTOR, '  IvV 


Chapter  XI. 

If  artistic  choral  singing  be  his  aim,  the  conductor 
must  first  secure  mastery  by  his  choir  of  the  elementary 
technique  of  choral  singing.  This  includes :  Musical  tone- 
quality  ;  ability  to  deliver  tone  with  varying  degrees  of  power, 
and  to  sustain  tone  (organ-tone) ;  correct  intonation  ;  precision 
in  attack  and  release  of  tone  ;  rhythmic  accuracy  ;  the  legato  ; 
the  staccato  ;  the  portamento  ;  correct  pronunciation  ;  distinct 
enunciation  and  articulation. 

The  firm  sustaining  of  tone  and  the  binding  of  tones  (  the 
legato)  are  the  foundation  of  good  stjde  in  singing. 

Choralists  are  apt  to  be  careless  as  to  rhythmical  accuracy. 
They  must  be  taught  to  give  each  note  its  full  value,  and 
especially  to  observe  the  dotted  notes. 

Precision  in  attack — all  the  voices  sounding  simultan- 
eously— is  indispensable.  The  starting  of  the  note  should  be 
clear,  without  either  a  preliminary  breath-rush  (aspirate)  or  a 
harsh  click  in  the  throat.  A  good  pattern  given  by  a  singer  is 
of  more  value  in  securing  correct  attack  than  much  written  or 
verbal  advice.  Exercises  for  attack,  and  staccato  phrases  are 
fatiguing  to  the  throat  and  should  not  be  practised  over-much. 

All  the  voices  on  one  part  should  move  from  one  pitch  or 
one  syllable  to  the  next  at  exactly  the  same  instant.  Some 
singers  are  slow  in  passing  from  an  initial  consonant  to  the 
following  vowel ;  they  make  a  preliminary  murmur  of  indefinite 
pitch  on  the  consonant  instead  of  delivering  it  clearly  and 
coming  at  once  to  the  vowel  sound.  Others  form  the  vowel 
impurely,  giving  a  preliminary  sound,  as  ''u-ah"  for  ''ah." 
These  faults  prevent  that  precision  of  attack  on  each  pitch  and 
syllable  which  is  so  effective  and  much  to  be  desired. 


10^    •  '    •  CHOIR    AND    CHORUS    CONDUCTING.^ 

Precision  and  elegance  in  the  release  of  the  last  note  of  a 
phrase  is  an  important  item  of  good  style.  Some  singers  have 
a  vicious  habit  of  kicking  out  a  final  note.  There  are  three 
ways  of  ending  a  tone  : 

(1)  With  a  sudden  snap  of  the  jaw, 

(2)  With  a  quick  closure  of  the  throat  accompanied 
by  a  click  or  push, 

(3)  Clearly,  elegantly,  by  managing  the  breath  and 
leaving  throat,  jaw  and  tongue  free. 

The  latter  is  correct. 

The  standard  of  pronunciation  varies  somewhat  according 
to  locality.  The  usage  of  educated,  refined  society  governs. 
In  singing,  for  the  sake  of  good  tone-quality,  vowels  are  some- 
what broadened.  Pure,  distinct  delivery  of  both  vowels  and 
consonants,  on  the  basis  of  the  standard  of  pronunciation 
adopted,  is  imperative.  If  the  words  are  to  be  understood,  the 
consonants  must  have  careful  treatment.  The  final  consonant 
is  too  often  suppressed. 

By  judicious  treatment  of  consonants  much  may  be  done 
to  affect  the  style  of  delivery  of  a  phrase  or  sentence.  Some- 
times the  explosives  may  be  sharpened,  or  softened,  in  such  a 
way  as  to  intensify  the  effect  of  word  and  music.  For  example, 
in  the  following  excerpt : 

PiNSUTI — 

"  Good-night,  Beloved." 
pp  Andante  cantabile.  --> 


^ 


^iS 


Good -night,       good -night     be    -    lov    -    ed, 

the  hard,  explosive  ' '  g  "  in  ' '  good  ' '  should  be  softened  ;  so 
with  the  ''t"  in  "night,"  which  should  have  a  soft,  velvety 
delivery  almost  like  the  ' '  th  "  in  ' '  thin. ' '  The  vocal  conso- 
nants   ' '  m "    and    * '  n "    can    be  so  treated  as  to    increase 


THE    CHORAL    CONDUCTOR. 


103 


intelligibility  and  enhance  the  expressive  effect,  as  at  *,  where 
the  ' '  m  "  may  be  delivered  very  softly  and  slightly  prolonged. 


D.  Buck— 
•'  Twilight."     Male  Voices. 
poco  rail.  ^ 


^_=^ 


b=b: 


^t. 


e=f=f: 


Like    to       a    dream, 
* 


like    to      a 


-^^- 


dream, 


In  light,  delicate  passages,  especially,  the  harsh  sibilants 
^'  s  "  and  "  z,"  ^'  sh  "  '^  zh  ''  need  modification,  so  as  to  mini- 
mize, as  far  as  is  compatible  with  intelligibility,  the  unmusical 
hiss.      [See*.] 


i 


^     P 


D.  Buck— 
'  Twilight. 


^#=f 


i±:^ 


^ 


^ 


Then,       in    her    shad  -  ow  -  y 


wings, 


Sop. 


Alto. 


:ifiS: 


m 


*         ^         *  *^ 


Saint-Saens— 
'  Samson  and  Delilah. 


^ 


m 


^=^- 


m 


*t 


Sing,   sis  - 


sing,      your     trib    -   ute      bring. 


IP*— 


fTv  (  i-  rj 


^ 


^ 


The  following  excerpt  shows  at  *  an  opportunity  for  height- 
ening the  expressive  effect  by  a  forceful  delivery  of  consonants  : 


i 


Allegro. 


Saint-Saens — 
'  Samson  and  Delilah.'' 


i^^S 


Is  -  ra   -  el!    break  your  chain!     A  -  rise,     dis-play   your  might! 


104 


CHOIR    AND    CHORUS    CONDUCTING. 


The  expressive  use  of  consonants  must  not  be  carried  too 
far  ;  singing  is  done  upon  vowels. 

Choralists  are  over-fond  of  slurring  or  ''  smearing."  This 
habit  must  be  overcome.  The  skilful  delivery  of  the  portamento 
is  a  different  matter,  and  an  important  item  of  good  style. 
The  refined,  elegant  delivery  of  such  phrases  as  the  following 
is  a  test  of  the  training  of  a  chorus  : 


Dolcissimo. 


E  Elgab— 
"  Spanish  Serenade. 


^ 


m 


^3 


fc 


She 


she       sleeps 


my 


la 


dy 


sleeps,      my        la    •     -    dy       sleeps. 


At  *  the  portamento  is  to  be  used.  At  ^  there  is  danger  of 
slurring.  To  make  a  crescendo  at  %  passing  from  the  c  to  the  / 
without  slurring,  is  not  easy, 

A  distinction  is  made  between  the  ' '  form  ' '  or  size  of  tone 
appropriate  for  one  or  another  style  of  composition.  There 
are  three  ' '  forms  ' '  of  tone — the  small,  medium  and  large  : 


O 


o      O 


t  Form  relates  to  size,  or  volume,  not  to  intensity.      The 
small   form   is   appropriate   for   the   delivery   of    the    lighter 


tSee  The  Voke.—E.  J.  Myer. 


THE    CHORAL    CONDUCTOR. 


105 


compositions,  glees,  madrigals  and  part-songs,  especially  where 
the  movement  is  rapid  and  there  is  a  syllable  to  each  note,  as  : 


f  Allegro. 


T.  MORLEY— 

Now  is  the  Montli  of  Maying." 


?=* 


i^i 


I 


Now      IS    the  month  of       may  -   mg,  When    mer  -    ry    lads 


^ 


play   -    ing,      fa,     la,       la,       la. 


la,      la,        la,       la, 


The  greater  part  of  choral  singing  calls  for  medium  form, 
the  large  form  being  indicated  chiefly  for  broad,  solemn,  or 
dramatic  phrases  or  movements  in  anthem,  cantata,  and 
oratorio.  There  are  phrases  in  oratorio  which  require  the  use 
of  the  smaller  forms.  Usually  conductors  encourage  a  style 
of  delivery  in  oratorio  in  which  there  is  little  variation  from 
the  largest  form  of  tone  of  a  sombre  color.  This  is  a  mistake  ; 
to  secure  best  results  in  this  connection,  it  is  necessary  that 
the  conductor  understand  the  voice. 

Hints  and  Sug'gfestions* — Continuing  the  study  of  th'^ 
items  that  go  to  make  what  is  called  style  in  choral  singing,  a 
conductor  may  consider  these  suggestions  : 

Piano  passages  are  not  necessarily  to  be  sung  more  slowly 
than  preceding  loud  passages. 

If  choralists  understand  that  each  singer  is  expected  to 
give  only  his  proportionate,  fractional  part  of  the  total  volume 
of  tone,  the  shading  will  be  smooth  and  effective. 

In  selections  requiring  humming  accompaniments,  the 
quality  of  tone  can  only  be  musical  when  the  humming  is  done 
on  true  breath  control  and  with  looseyiess  of  throat. 

It  is  a  mistake  to  hurry  the  pace  in  florid  passages. 
Choralists  may  thus  be  jumped  over  a  weak  or  dangerous  spot, 


106 


CHOIR   AND    CHORUS    CONDUCTING. 


but  the  music  is  not  really  sung.  Too  fast  a  tempo  makes 
correct  delivery  of  runs  difficult. 

Musical  tone  quality  is  only  to  be  secured  when  voices 
have  no  pronounced  fundamental  defects,  are  unforced  and 
true  to  pitch. 

When  breath  has  to  be  so  taken  as  to  divide  a  phrase,  the 
first  note  after  renewal  of  breath  should  be  sung  with  the 
volume,  intensity  and  color  that  characterized  the  note  preced- 
ing the  breath-taking. 

Good  style  calls  for  breadth  of  phrasing  ;  full,  firm  tone 
requires  a  generous  supply  of  breath.  The  well-trained  chorus 
exhibits  both. 

The  use  of  the  '' explosive,"  or  its  djmamic  opposite,  the 
' '  aspirated  ' '  attack  is  a  matter  of  style  in  delivery.  A  force- 
ful audible  aspiration  of  the  word  ^ '  Ha  !  "  at  * 

Gounod — 
"  Redemption." 


te 


W^ 


Ha! 


thou     that    dost 


de  -  clar«. 


is  most  effective. 


THE    CHORAL    CONDUCTOR.  W7 


Chapter  XII. 

Singing  with  good  quality  of  tone,  exact  intonation,  distinct 
enunciation  and  articulation,  clear  delineation  of  the  phrase, 
rhythmic  accuracy,  attention  to  matters  of  tempo,  shading, 
special  effects  of  accentuation,  the  legato,  staccato,  martellato, 
etc.,  is  giving  due  thought  and  effect  to  the  lower  or  more 
mechanical  side  of  expression. 

There  is  an  expression  of  a  higher,  finer  sort  which  arises 
from  a  realization  by  singers  of  the  emotional  content  of  words 
and  music. 

It  is  for  the  conductor  to  study  thoroughly  the  structure 
and  meaning  of  a  composition — text  and  music — and  then  to 
use  every  means  in  his  power  to  bring  his  singers  to  compre- 
hend and  appreciate  the  work  as  he  does.  What  is  not  felt 
cannot  be  expressed.  If  the  singers  do  not  get  hold  of  the 
inner  meaning  of  the  words  and  music — the  dominant  senti- 
ment— if  this  does  not  get  hold  of  the  singers,  it  cannot  be 
expressed  by  them.  It  is  this  feeling  for  the  emotional 
content  of  a  composition  which  gives  life,  glow,  fervor  to 
chorus  singing,  even  when  deficient  as  regards  the  mechanical 
expression  heretofore  referred  to. 

There  is  a  vocal  tone,  free,  vibrant,  rich  in  harmonics, 
which,  considered  merely  as  a  tone,  possesses  a  sensuous  beauty 
that  is  most  attractive  to  the  ear.  It  gives  pleasure.  But  this 
is  not  the  ''  fervent"  tone.  It  is  a  matter  of  natural  endow- 
ment and  good  voice-production.  Let  this  tone,  however,  be 
''glorified"  by  the  singer's  strong  emotion;  then  it  comes 
with  mighty  force  upon  the  hearer,  stirring  the  depths  of  the 
soul,  and  compelling  instant  and  generous  response. 


108 


CHOIR   AND   CHORUS    CONDUCTING. 


Chapter  XIII. 

The  original  idea  of  Recitative  was  to  express  in  musical 
notation,  so  far  as  possible,  the  natural  inflections  and  move- 
*ment  of  the  speaking  voice.  In  delivery  it  requires  not  so 
much  singing  as  declamation,  with  fidelity  to  pitch  and  to 
the  true  character  of  the  speaking  voice.  In  pure  recitative 
there  must  be  no  suggestion  of  regularity  of  rhythm.  There  is, 
however,  a  species  of  choral  semi-recitative  written  by  modern 
composers  which,  while  possessing  more  or  less  rhythmic 
regularity,  calls,  in  a  measure,  for  the  declamatory  style  of 
delivery.     An  example  is  here  given  : 


C.  V.  Stanforiv- 

"  The  Revenge." 


Basses. 


^ 


gi;^  ^  f  r 


And    we        had        not    fought  them     in       vain, 


p 


1= 


THE   CHORAL   CONDUCTOR. 


109 


it 


1 •: 


^=t=t 


:^ 


^ 


±=l=t 


But       in       per  -    i  -  lous        plight 


were      we. 


i 


E 


:C=i3 


f 


■s-s-H 


■^ 


f 


1 


^, 


:*=«^=*=a 


^ 


Below  is  given  another  example  of  choral  semi-recitative 
in  which  the  smooth,  legato,  singing  style  of  delivery  would 
be  inappropriate.  Musical  declamation,  with  fervent  expression 
of  emotion,  is  called  for  : 


Gounod— 
"  Redemption.' 


^^^s^m$m 


Ah! 


ye  priests     who     con- 


ye     your- 


were    in 


i 


^LA 


jnti^txg^ 


MM 


•  «^  J    ;.  i 


=Pr=^ 


i 


t=t 


i 


^ 


-==-^ 


s 


F^ 


"What       time. 


-17- 


slum     -     ber, 


^d- 


wnat       time ye  to         the 


110  CHOIR    AND    CHORUS   CONDUCTING. 


Chapter  XIV. 

Where  the  choice  of  hymn-tuues  is  left  with  the  Choir 
Director,  he  will  naturally  study  the  words,  and  select  music 
appropriate  in  its  character  to  the  sentiment  of  the  text.  He 
must  study  the  text  stanza  by  stanza,  and  vary  the  style  of 
delivery  to  suit  the  changing  sentiment  of  the  lines.  In  some 
churches  it  is  the  custom  to  sing  the  service  at  a  rapid  pace 
throughout ;  in  others  it  is  sung  in  a  slow,  drawling  manner. 
Change  of  rate  of  speed  is  an  important  factor  of  style  in  hymn- 
singing.  This  must  be  done  with  judgment,  or  the  people  will 
become  confused  and  refuse  to  sing.  The  character  of  a  tune 
may  be  radically  changed  by  singing  it  much  faster  than  its 
normal  speed.  Tunes  having  changing  harmony  on  each  beat 
require  a  comparatively  slow  tempo.  Those  in  which  the 
harmony  changes  infrequently  may  be  sung  at  a  comparatively 
rapid  tempo.  This  is  a  matter  for  careful  study  and  experiment 
by  the  Conductor. 


Part  IV. 
THE  CHOIR. 

Chapter  I. 

Choral  Drills — ^The  choir  must  be  prepared,  by  suitable 
drill,  for  its  part  in  the  interpretation  of  words  and  music. 

This  preparation  is  the  work  of  the  Conductor  in  the 
rehearsal  room.  To  it  he  must  bring  his  knowledge,  skill  and 
great  patience  and  capacity  for  taking  pains.  A  good  rule, 
as  has  been  intimated,  is  for  the  Conductor  to  prepare  himself 
for  the  rehearsal  by  a  few  minutes'  relaxation  and  quiet 
meditation  or ''thinking  of  nothing  at  all" — a  complete 
resting  of  brain  and  body.  He  should  remember  that  worry 
induces  irritableness,  and  that  a  conductor  and  teacher  should 
have  no  temper  to  keep  in  the  rehearsal  room  ;  also  that  it 
takes  two  to  make  a  quarrel,  of  whom  he  has  no  business  to  be 
one  ;  moreover,  that  many  more  people  can  be  led  than  can  be 
driven.  Let  him  rid  himself  of  every  vestige  of  enmity  toward 
any  one  before  entering  the  rehearsal  room  ;  it  will  then  be 
difficult  for  any  one  to  feel  at  enmity  with  him.  Good  temper, 
patience  and  perseverance  will  bring  to  the  choir  leader  the 
victory. 

In  order  to  do  the  best  work  the  choir  leader  must  secure 
and  retain  interested  attention.  To  this  end  the  singers  must 
be  given  that  to  do  which  they  can  do  with  ease  and  satisfac- 

ill 


112  CHOIR   AND    CHORUS    CONDUCTING. 

tion,  and  a  little  of  that  which  calls  for  special  effort.  Then 
they  must  be  kept  doing.  In  this  connection  it  is  suggested 
that  the  director  :     ^ 

Have  a  plan  of  rehearsal  clearly  in  mind  and  work  to  it. 

Be  thoroughly  in  earnest  in  everything. 

Talk  little,  have  the  choir  sing  much. 

Tell  nothing  that  singers  can  be  led  to  discover  for  them- 
selves. 

Give  reasons  for  exercises  and  call  upon  singers  to  use 
imagination,  to  compare  and  to  criticise. 

In  announcing  page,  number,  stave,  phrase,  or  point  of 
departure,  make  each  statement  clearly  and  decidedly,  and 
decline  to  repeat  it.  Let  the  inattentive  who  never  know 
^ '  where  it  is, ' '  understand  that  they  treat  the  leader  unfairly 
and  are  guilty  of  discourtesy. 

Alternate  easy  with  difficult  numbers. 

Have  one  division  listen  while  another  sings ;  then  ask 
questions. 

Vary  pitch  of  exercises  ;  styles  of  music  studied  ;  illustra- 
tions. 

If  an  individual  or  division  is  inattentive,  give  something 
to  do. 

Keep  the  rehearsal  room  well-ventilated. 

Have  each  singer  sit  away  from  back  of  chair. 

Change  singers  from  sitting  to  standing  position  occa- 
sionally. 

Give  the  choir  something  to  think  about ;  keep  the  singers 
looking  for  points. 

Encourage,  encourage,  encourage. 

As  a  preliminary  to  the  rehearsal  it  is  well  to  call  attention 
to  the  difference  between  practising  and  studying,  and  ask  that 
singers  study  while  they  practice. 


THE   CHOIR.  113 


Chapteb  II. 


Happy  is '  the  choir  conductor  whose  singers  are  all  music 
readers. 

When  there  is  need  of  it,  instruction  in  sight-singing  well 
repays  a  conductor  for  the  trouble  it  costs.  An  examination 
of  the  various  sight-singing  methods  and  text-books  offered  in 
this  country  will  show  each  conductor  something  that  will  be 
useful  to  him  in  this  part  of  his  work.  A  good  teacher  will  be 
able  to  do  much  in  this  line  with  no  more  material  than  a  large 
blackboard  ruled  with  two  permanent  music  staves,  without 
clefs  or  bar  lines. 

AVhere  the  average  ability  to  read  music  is  good,  it  is  often 
profitable  to  give  a  few  minutes  at  each  rehearsal  to  special 
drill  upon  unusual  rhythms.  If  a  composition  to  be  rehearsed 
contains  any  such,  they  should  be  studied  on  a  monotone,  at  a 
middle  pitch,  to  a  syllable,  ^'lah,"  or  '^loo."  The  item  of 
pitch  is  thus  eliminated  from  the  problem — one  thing  at  a  time. 

It  is  helpful  to  the  soprano  and  bass  divisions  to  give  them 
drill  in  singing  inner  parts.  A  hymn-tune  in  which  the  soprano 
and  alto  parts  are  of  moderate  compass  may  be  practised,  the 
sopranos  singing  the  alto  and  the  altos  the  soprano  part.  So 
with  the  tenor  and  bass. 

Special  drill  in  following  the  conductor's  beat  is  also  best 
given  upon  a  monotone  and  a  simple  syllable  ;  or  upon  a  tune 
which  is  thoroughly  familiar.  In  such  case  attention  is  easily 
concentrated  upon  the  conductor's  indications.  It  is  useless 
to  expect  a  choir,  not  familiar  with  words  or  music,  to  follow 
closely  a  conductor's  beat.  The  choir  may,  in  this  exercise,  be 
asked  to  sing  one  syllable  to  a  beat,  next  two,  and  so  on,  the 
con^luctor  varying  his  tempo,  for  purposes  of  drill,  somewhat 
erratically. 


114:  CHOIR   AND    CHORUS    CONDUCTING. 


Chapter  III. 

Purity  of  intonation  is  absolute!}^  indispensable  to  good 
singing. 

When  singing  flat  or  sharp  is  caused  by  lack  of  ventila- 
tion ;  want  of  attention  ;  of  concentration  upon  the  pitch  ; 
physical  fatigue  ;  or  nervousness,  the  remedy  is  obvious. 

One  voice — a  constitutiona,l  flatter  or  sharper,  will  often 
draw  a  division  or  the  whole  choir  from  the  pitch.  That  voice 
must  be  removed. 

If  the  bass  division  is  carefully  looked  after  and  kept 
solidl}^  in  tune,  the  upper  voices  are  not  sc  likely  to  fall  from 
pitch.  If  the  bass  falls,  the  other  parts  are  almost  certain  to 
follow. 

A   muggy   atmosphere   will   sometimes   cause   flatting. 

Among 'Other  causes  of  false  intonation  are  the  following  : 

Want  of  sufficient  breath  through  failure  to  observe  proper 
breathing-places. 

Failure  to  support  the  tone  with  the  breath  in  piano 
passages.  Choralists  frequently  act  as  though  under  the 
impression  that  soft  notes  will  sing  themselves.  On  the  con- 
trary, the  soft  notes,  if  they  are  to  be  true  to  pitch  and  of 
proper  color  and  carrying  power,  must  be  given  with  concen- 
tration of  thought  on  pitch  and  energetic  breath  support. 
"Given  a  phrase,  it  is  indispensable  that  the  same  energ}^  of 
vocal  emission  should  be  employed  in  singing  it  piano  as  in 
singing  it  forte,  or,  to  express  it  better,  the  same  intensity  of 
internal  effort." — Francesco  Lamperti. 


THE    CHOIR.  115 

Singing  flat  often  results  from  singing  too  ^ '  big  "  on  the 
upper  pitches — forcing  the  voice  ;  what  is  technically  known  as 
^ '  carrying  a  lower  register ' '  into  the  territory  of  an  upper 
register.  The  immediate  remedy  is  to  call  for  less  volume  and 
sonority  at  the  danger  point,  with  concentration  of  the  mind 
on  the  pitch  and  good  tone  quality.  The  tone  must,  however, 
be  kept  clear  and  intense.  The  permanent  cure,  of  course,  is 
ear-training  and  instruction  in  tone  production. 

Wrong  classification  of  voices  is  a  fruitful  cause  of  flat- 
ting. One  alto  trying  to  sing  soprano,  or  one  baritone  among 
the  tenors  is  often  sufficient  to  pull  down  a  choir. 

When  a  high  soprano  is  nervous,  fearful,  badly  taught, 
or  for  any  reason  forces  her  tones,  she  usually  sings  sharp. 

In  practising  new  music,  when  it  is  necessary  to  frequently 
repeat  passages  set  at  a  high  pitch,  they  may  be  dropped  an 
octave.      This  to  avoid  fatigue  of  voice  and  consequent  flatting. 

It  is  not  easy  to  sing  the  diatonic  scales  in  perfect  tune. 
These  should  be  vocalized  by  each  division,  without  accom- 
paniment, and  the  pitch  tested  by  tuning-fork  or  pitch-pipe. 

Some  authorities  find  that  the  second  and  third  of  the 
ascending  major  scale  are  often  sung  out  of  tune..  So  with  the 
fourth  and  fifth  of  the  minor  scale.  The  augmented  second 
(six  to  sharp  seven)  of  the  minor  scale  needs  special  care  as  to 
intonation.  Singers  should  be  trained  to  give  these  doubtful 
notes  a  slight  special  accent  when  practising. 

The  highest  of  two  repeated  notes  at  the  interval  of  a 
major  second 


is  often  flatted.     Practice  of  such  a  passage,  with  accentuation 
of  the  higher  note,  is  beneficial. 


116  CHOIR   AND    CHORUS    CONDUCTING. 

Where  a  choir  sings  sharp  it  is  usually  because  of  nervous- 
ness, or  the  presence  of  the  habitual  sharper. 

More  thorough  drill,  giving  greater  familiarity  with  the 
music  and  confidence  in  themselves  and  the  conductor  will 
have  a  good  effect.  The  habitually  offending  voice  must  be 
removed.  If  several  singers  who  usually  sing  in  tune,  show  a 
disposition  to  sing  sharp,  the  practising  of  vocalizes  and  the 
particular  passages  on  ' '  oh  "  and  ' '  oo  "  (as  in  food  )  will  give 
good  results. 


Chapter  IV. 


The  study  of  exercises  for  ear-training  aids  in  music-read- 
ing, intonation,  and  blending.  A  few  minutes  may  well  be 
given  to  such  work  at  the  beginning  of  the  rehearsal. 

In  this  connection  the  singing  of  chorals,  slow-moving, 
strong  hymn-tunes,  and  suitable  anthems,  without  accompaniment^ 
and  with  special  attention  to  intonation,  testing  with  tuning- 
fork  or  pitch-pipe,  is  strongly  recommended.  ''  Hymn  of  the 
Homeland,"  by  A.  S.  Sullivan,  and  ''Come  Unto  Him,"  by 
Gounod,  are  suggested  as  types  of  anthems  that  may  be  used 
in  this  work. 

The  important  point  is  to  form  in  singers  the  habit  of 
listening  to  the  pitch  ;  next,  to  train  them  so  that  they  become 
accustomed  to  the  accurate  sounding  of  the  intervals  used  in 
music.  This  latter  involves  the  studj^  of  the  major  and  minor 
diatonic  scales,  the  chromatic  scale,  and  drill  in  sounding  the 
various  chords.  To  this  may  be  added,  with  advantage,  special 
study  of  unusual  melodic  skips  or  progressions. 


THE    CHOIR.  117 


Chapter  Y. 


It  should  not  be  necessary  to  present  an  argument  in  favor 
of  vocal  exercises  for  adult  choirs.  The  fact  is,  however, 
that  few  choir-leaders  fully  appreciate  their  value  as  saving 
time  and  labor  in  improving  the  singing  of  a  choir.  They 
save  time,  as  one  says,  because  ^ '  they  concentrate  attention 
upon  one  point  at  a  time,"  and  really  educate  the  choir 
singers.  The  choir  director  who  gives  a  few  minutes  at 
the  beginning  of  each  rehearsal  to  voice-training  exercises  will 
soon  find  his  reward  in  the  increased  efficiency  and  responsive- 
ness of  his  choir.  The  improvement  will  come  much  more 
quickly  than  if  he  depends  for  it  upon  the  ordinary  routine  of 
rehearsal  drill. 

These  exercises  should  include  work  on  the  following  items  : 

Breath  control  ;  production  of  the  vowels  ;  treatment  of 
the  consonants  ;  attack  and  release  of  tone  ;  the  legato,  stac- 
cato, agility  ;  shading  ;  accentuation  ;  tone-coloring  ;  phrasing 
(with  especial  reference  to  the  quick  or  half -breath)  ;  the  three 
forms  of  voice  ;  blending  of  voices. 

All  voice  work  should  be  done  in  as  pure  an  atmosphere 
as  possible,  and  without  undue  physical  effort. 

With  regard  to  breath-control  the  problem  is  (1)  to  learn 
to  take  a  full  breath  quickly  and  noiselessly,  usually  through 
the  mouth,  without  raising  the  shoulders  ;  (2)  to  send  out  the 
breath  with  energy  and  great  slowness,  while  producing  tone, 
leaving  larynx,  throat,  tongue,  jaw  and  lips  free  from  even  a 
suspicion  of  stiffness.  First  exercises  require  a  slow  inhalation, 
and  exhalation  without  tone  on  a  mental  (silent )  vowel. 
Later  the  inhalation  is  quicker,  and  the  exhalation  slow,  and 
with  tone. 


118  CHOIR    AND    CHORUS    CONDUCTING, 

The  repetition,  on  the  slowly  out-moving  breath,  of  the 
ordinary  numerals,  or  letters  of  the  alphabet,  in  an  easy 
conversational  manner,  each  alternate  word  without  tone,  is 
useful  in  gaining  breath  control.  The  breath  must  always  be 
renewed  before  the  singer  feels  that  he  is  '^  out  of  breath." 

It  is  unwise  to  force  the  voice  in  the  least ;  power  is  not 
thus  to  be  gained.  ]S"or  must  the  two  extreme  notes  at  either 
end  of  the  vocal  compass  be  practised.  Eight  practice  on  the 
middle  range  will  ensure  the  correct  production  of  the  highest 
and  lowest  tones  when  these  are  needed.  The  extreme  tones 
may  be  sounded,  occasionally,  in  practice. 

A  simple,  practicable  vowel  scheme,  for  use  in  choral  voice 
training  is  the  following  : 

Lon§f  Vowels.  Short  Vowels* 

E  as  in  Feet  i  as  in  Fit 

A  as  in  Fate  e  as  in  Let 

Ah  as  in  Farm  a  as  in  Sat 

Aw  as  in  Law  o  as  in  Cot 

O  as  in  No  u  as  in  Cut 

00  as  in  Food  oo  as  in  Foot 

Initial  Y  is  always  a  very  close  sound  of    '^e,"   written 
Initial  W  is  always  55  as  in  Food. 


-r^  T       vet — eS-6-t. 

Example  :   *'  -  -    « 

^         won — oo-u-n. 


In  the  production  of  the  vowels,  throat,  tongue,  jaw  and 
lips  must  be  left  entire!}^  free  from  stiffness.  The  tip  of  the 
tongue  must  lie  gentl}^  against  tlie  lower  front  teeth  on  all 
vowels.  The  position  of  the  mid,-  and  back-tongue  alters 
somewhat  for  certain  vowels.  It  is  best  to  let  the  tongue 
alone.      If    the   singer   thinks   correctly  the   vowel    sound    he 

fSee  Speech  in  Song,  Ellis. 


THE    CHOIR.  119 

wishes  to  utter,  and  leaves  the  tongue  free,  he  will  most  quickly 
and  surely  attain  to  a  satisfactory  result.  A  correct  pattern 
sound,  must,  of  course,  be  given  by  the  choir-director. 

Diphthongfs. 
Ah-i — 1  in  Light; 
Ah-i — y  in  My ; 
Aw-i — oy  in  Boy ; 
Ah-oo — ow  in  Now; 
In  these  examples,  the  first  vowel  is  the  long  sound,  and 
upon  that  sound  the  singer  sustains  tone,  merely  touching  the 
second  sound  as  he  leaves  the  syllable. 
I-oo — ew  in  Few ;  also  u  in  tune. 

In  this  example  the  first  vowel  is  very  shorty  and  the 
singer  vocalizes  upon  the  second. 

The  vowels  may  be  used  singly,  upon  a  monotone,  and 
upon  scales  and  arpeggios. 

They  may  also  be  used  in  combination  upon  the  same 
musical  material.  A  useful  order  for  securing  good  tone 
production  is  the  following  : 


-^^^    1^   !^^4- 


m-. 


00  —  ah  —  e  —  ah  —  oo 
The  pitch  may  be  changed  to  suit  the  necessities  of  the  various 
classes  of  voices. 

In  practising  vocal  exercises,  as  in  all  singing,  the  body 
sliould  be  poised  upon  the  ball  of  one  foot ;  the  shoulders 
down,  chest  active  (not  forced  up).  Singers  should  be  warned 
against  singing  into  their  music. 

All  the  vowels  should  be  practised. 

In  order  to  avoid  fatigue,  vocal  exercises  may  be  practised 
by  the  men  and  women  of  a  choir  separately.  One  division 
should  be  encouraged  to  listen  critically  while  another  division 
is  practising. 


120  CHOIR   AND    CHORUS    CONDUCTING. 


Chapter  YI. 

Singers  learn  to  a  considerable  extent  by  imitation.  That 
choir  is  fortunate  whose  director  is  able  to  give  a  model  of 
good  tone  quality.  In  studying  the  vowel  the  item  of  quality 
of  tone  is  to  be  always  in  mind. 

The  tone  of  good  quality  is  clear,  resonant,  expressive, 
with  intensity  or  carrying  power  in  both  piano  and  forte.  It  is 
neither  nasal,  palatal,  guttural,  ''woolly''  nor  breathy. 

Nasality,  though  sometimes  the  result  of  disease,  is  usually 
caused  by  habits  of  speech  which  induce  rigidity  of  some  part 
of  the  vocal  apparatus.  Calling  attention  to  the  defective 
sound  and  contrasting  it  with  the  correct  sound  of  the  vowel  is 
helpful.  So  also  instructions  as  to  relaxing  neck,  tongue,  and 
jaw  while  singing.  The  study  of  attack  on  the  vowel  ''Ah,'' 
with  thought  concentrated  upon  the  upper  front  teeth  as  the 
point  at  which  tone  is  first  felt  and  sustained,  is  also  beneficial. 

Breath  control,  combined  with  absence  of  rigidity  of  any 
part  of  the  vocal  instrument,  and  intelligent  study  of  attack 
on  the  vowels,  will  usually  remedy  the  defects  of  tone-quality 
above  mentioned. 

A  semi-nasality  of  tone  is  caused  by  prefixing  "n,"  or 
"  m  "  to  a  s^dlable,  as  :  "I  n-do  not  know. ' '  This  bad  habit 
is  easily  corrected  by  proper  consonant  drill. 

The  vowel  must  always  be  sung  so  as  to  be  understood. 
Badly  trained  singers  change  "Ah"  into  "Aw,"  at  high  pitches, 
finding  themselves  unable  to  give  the  correct  vowel.  This  is  a 
matter  of  throat  rigidity  in  tone  production.  The  artist 
unconsciously  modifies  the  quality  or  color,  so  as  to  retain 
richness  and  resonance,  as  the  pitch  changes,  but  does  not 
obliterate  the  vowel.     In  choral  drill  the  director  must  give  a 


THE    CHOIR.  121 

pattern  for  such  modification  of  vowel  quality  as  is  necessary 
in  singing  the  scale  on  one  vowel,  and  require  the  class  to  listen 
and  compare.  At  high  pitches  E  (as  in  ''feet")  is  apt  to  be 
made  too  shrill,  and  oo,  (as  in  ''food")  too  dull,  lacking  in 
clearness  and  intensity.  These  need  modification  in  quality — 
the  one  in  the  direction  of  breadth  and  richness,  the  other 
toward  brightness. 


Chapter  YII. 

The  use  of  Ah,  Aw,  and  O,  with  rather  dark  timbre,  aids 
in  developing  volume. 

Resonance — intensity — carrying  power — are  developed  : 

1.  By  vocalizing  with  bright   timbre,   using  chiefly  E, 
and  A  (as  in  ' '  fate. ' ' ) 

2.  By  developing  vibration  throughout  the  body,  with 
special  attention  to  focusing  vibration  at  upper  front  teeth. 

3.  By  increase  of  (controlled)  breath-pressure. 
Practice  for  resonance  should  be  done  with  a  smiling  eye^ 

and  raised  and  loosely  held  upper  lip. 

f  The  syllables  lah,  nee,  deh,  thah  (^^asin  "thou  ")  and  vah, 
may  be  practised  in  this  connection.  Special  care  should  be 
taken  to  preserve  absolute  freedom,  of  throat,  tongue  and  jaw 
in  practising  these  syllables.  Each  of  the  first  four  is  practised 
without  a  movement  of  the  jaw. 


t  See  Polychrome  Lessons. — F.  W.  Boot. 


122  CHOIR    AND    CHORUS    CONDUCTING. 


Chapter  VIII. 

As  has  been  said  heretofore,  the  first  and  most  important 
requisite  to  the  blending  of  voices  is  that  each  voice  shall  be 
exactly  in  tune.  Next,  each  must  be  free  from  striking  defects 
of  tone  quality.  Thirdly,  all  must  move  from  one  pitch  and 
one  sound  (vowel)  to  another  at  the  same  instant. 

The  choir  director  will  find  it  advantageous  to  spend  some 
time  on  blending  exercises,  during  the  study  of  which  he  must 
insist  upon  each  singer  producing  a  tone  of  as  good  quality  as 
possible,  listening  to  his  neighbor,  and  endeavoring  to  amalga- 
mate the  two  voices  so  as  to  make  an  effect  as  of  one  large  voice. 

A  good  plan  is  to  have  the  voice  of  best  quality,  say 
among  the  sopranos,  sustain  a  tone  for  several  beats,  the  others 
of  that  division  listening,  and  then  one  by  one  sounding  the 
same  pitch,  endeavoring  to  produce  a  tone  of  similar  general 
quality  and  to  melt  the  voices  into  each  other,  so  that  no  one 
will  be  distinguishable  from  the  mass.  This  exercise  may  be 
sung  at  various  pitches,  and  after  two  or  more  divisions  have 
been  practised  separately,  they  ma^^  be  blended  on  the  notes  of 
a  chord.      [See  paragraphs  upon  ^'  Ear- training."] 

A  forced  tone  will  not  blend.      It  is  inherently  untuneful. 


THE    CHOIR. 


123 


Chapter  IX. 

Flexibility  of  voice  is  that  characteristic  which  enables  the 
singer  to  pass  easily  and  smoothly  from  one  degree  of  power  to 
another. 

The  correct  study  of  the  swell  is  essential.  A  preliminary 
exercise  is  the  following  : 

Slowly. 


lE^^ 


^^ 


e  —  eh  —  ah  —  eh  —  e 
00  —  oh  —  ah  —  oh  —  oo 

The  pitch  should  be  varied. 

The  order  of  study  for  the  swell  is  this  : 

(1)  Slowly. 


^^^^^^^^m 


^^^ 


ah  —  eh  —  e 

e  —  eh  —  ah 

e  —  eh  —  ah  —  eh  —  e 

ah  —  oh  —  00 

00  —  oh  —  ah 

00  —  oh  —  ah  —  oh  —  oo 

ah 

ah 

ah 

Soft  tones  must  have  intensity — carrying  power.  For 
these  breath  must  be  controlled,  and  thought  fixed  upon  con- 
centrating tonal  vibrations  behind  upper  front  teeth. 

Tones  of  full  power  and  good  quality  can  only  be  gotten 
on  perfect  breath  control,  with  freedom  from  rigidity  of  throat, 
tongue  and  jaw. 

The  increase  and  decrease  of  tone  in  the  swell  must  be 
gradual  ;  not : 


124 


CHOIR    AND    CHORUS    CONDUCTING. 


The  swell  may  cover  a  note,  or  a  phrase.  Practise  on  this 
item  may  be  had  on  a  suitable  hymn-tune,  used  first  as  a 
vocalize,  and  next  with  words,  as  : 

Duke  Street. 
P  <=^  /= =-  P 


^^ 


r—r 


-^^ 


^3 


Ah, 


Drill  should  be  had  (1)  in  sustaining  long  notes,  evenly, 
with  soft,  medium  and  full  power  ;  (2)  in  quick,  soft  singing, 
for  which  '^  Mght,"  by  Gounod,  is  recommended  ;  and  (3)  in 
the  rapid  alternation  of  soft  and  loud  tones  on  different  pitches 
and  syllables. 


Chapter  X. 

The  rapid,  clear,  fluent  delivery  of  scales,  runs,  arpeggios, 
and  ornaments,  calls  for  vocal  agilitj^,  and  is  most  easil}^ 
accomplished  at  less  than  full  power  of  voice — the  '  'half-voice. ' ' 

A  useful  preliminary  practise  is  the  following  : 


Moderaio. 


Ha,    ha,    ha,    ha,       ha,  Ha,  ha,  ha,  ha,  ha,  ha,  ha,  ha,     ha. 

The  '^  h  "  should  be  very  light — felt,  but  almost  inaudible. 


& 


^^^^^^^ 


^z^ 


^S^^ 


Ah,     ah,      ah,      ah,      ah,      ah, 


ah. 


^^ 


THE    CHOIR. 


126 


The  short  notes  must  be  detached,  and  delivered  clearly, 
but  without  a  harsh  stroke  or  explosion  in  the  throat. 

Scales,  runs,  and  ornaments  must  be  sung  legato  ( the 
notes  must  be  closely  connected)  unless  specially  marked  other- 
wise. There  must  be  no  slurring  of  one  note  into  the  other — 
each  pitch  must  be  articulated  clearly. 

First  drill  for  agility  may  be  made  on  small  groups,  as : 


pi^pi 


-6- 


-y  y  1 


Y^Wj'M 


f^    M    IIP 


Lah,  lah,   lah 
Ah 


Lah,    lah,      lah 
Ah 


Lah,     lah,     lah 
Ah 


v>>>    >>>> 


Lah,     lah,       lah,     lah,     lah,     lah,     lah,lah,lah,lah,lah, . 
Ah*      ah,        ah,      ah,      ah,      ah,         ah 


Lah,    lah, 
Ah,     ah. 


lah,     lah,        lah . 
ah,      ah,        ah  , 


Lah,     lah,         lah,     lah,         lah 
Ah,      ah,  ah,      ah,  ah. 


The  ^'  1 "  must  be  very  quick  and  the  jaw  must  not  move. 

The  scale,  ascending  and  descending,  may  next  be  prac- 
tised, the  accentuation  being  so  varied  that  the  notes  fall  into 
groups  of  two,  three  and  four  each.     All  vowels  should  be  used. 


126 


CHOIR   AND    CHORUS    CONDUCTING. 


In  descending  scales  particular  attention  should  be  paid  to 
intonation  and  clear  articulation  of  each  note. 

Drill  may  next  be  had  upon  the  arpeggio  : 

^1    1^1      ^ 


m 


^m 


^ 


m 


^ 


m=± 


Ah. 


Ah. 


i 


^t# 


?5^1 


f 


Ah. 


As  to  embellishments,  drill  may  be  made  upon  the  figure 
used.  Medium  pitches  should  be  selected,  and  the  principal 
vowels  used. 

The  Appoggiatura  proper  ('"^long^' — '' variable  "  appog- 
giatura)  is  indicated  in  the  old  music  by  a  small  note  preceding 
the  principal  note.  It  varies  in  length,  receives  ^n  accent,  and 
takes  its  time  from  the  succeeding  note.  Usually  it  takes  half 
the  time  of  the  following  or  principal  note  : 


Written.     Executed. 


^ 


THE   CHOIR. 


127 


When  the  principal  note  is  dotted,  the  appoggiatura  takes 
the  time  of  the  note,  and  the  principal  note  takes  the  value  of 
the  dot ; 

Written.       Executed. 


$ 


t  * '  The  variable  appoggiatura  only  precedes  notes  which 
occur  on  the  accented  part  of  a  bar  ;  occasionally,  also,  in  slow 
movements,  each  beat  may  have  one. ' ' 

In  modern  music  the  long  appoggiatura  is  usually  written 
in  full-sized  notes  as  it  is  intended  to  be  sung. 

The  short  appoggiatura  (sometimes  called  the  Acciacca- 
tura, )  is  properly  indicated  by  a  small  note  with  a  stil^ke  across 
its  stem  and  hook,  preceding  the  principal  note.  It  receives 
no  accent,  takes  practically  no  time  from  the  principal  note  and 
should  be  executed  very  quickly  : 


$ 


The  double  acciaccatura  is  composed  of  two  short  notes, 
one  above  and  one  below  a  principal  note  : 


I 


i=^ 


^^ 


^ 


^^ 


These  notes  are  to  be  sung  very  quickly,  the  principal  note 
retaining  its  accent.     So  with  the  slur  : 


^^^PJN 


t  Method  of  Singing,  J.  Stockhausen. 


128 


CHOIR   AND    CHORUS   CONDUCTING. 


The  Mordent  consists  of  three  notes — a  principal  tone,  the 
tone  on  the  degree  next  below  (or  above),  and  the  principal 
tone  : 

Written.  Executed.    Wrilten.    Executed.  "Written.  Executed. 


fL.  A.  Russell,  in  whose  work  on  ^'  Embellishments"  the 
subject  is  treated  in  a  most  comprehensive  and  thorough 
manner,  says  : 

"  In  modern  music  accent  first  tone  of  mordent.  In  music 
of  and  prior  to  Bach's  time,  accent  the  third  tone.  <r.,  with 
upper  auxiliary,  triplet  form,  no  delay.     Accent  first  tone." 

The  Turn  is  composed  of  a  principal  (written)  note  and 
an  upper  and  lower  auxiliary.  When  not  written  in  small 
notes  next  the  principal  note  it  is  indicated  by  the  sign  7^  : 


I 


fc 


or{A5 


5^^ 


m^ 


or 


s 


m 


It  may  begin  with  the  upper,  or  lower  auxiliary  as  above ;  or 
with  the  principal  note  : 


i 


Written.     Executed. 


The  upper  and  lower,  or  both  auxiliary  notes  may  be  chromat- 
ically altered.      The  accidentals  are  usually  placed  above  or 

below  the  sign  .^,    w    ;  or  both  <sss> 


V^'    t|    ' 


t  Embellishments  of  Music,  L.  A.  Russell. 


THE   CHOIR. 


129 


In  the  old  (classic)  music  the  signs  for  the  appoggiatura 
are  sometimes  wrongly  printed,  one  being  used  where  the  effect 
of  the  other  is  really  desired.  For  a  full  discussion  of  this 
subject,  and  of  the  rules  for  the  delivery  of  the  ''Turn,"  the 
reader  is  referred  to  Mr.  Kussell's  work.f 

In  the  delivery  of  embellishments  regard  should  be  had 
to  the  particular  character  of  the  music  ( light  and  gay,  or 
heavy  and  sad  )  and  the  legato  should  be  carefully  preserved. 

The  rapid  delivery  of  the  chromatic  scale  presents  especial 
difficulty  in  the  matter  of  intonation.  It  should  first  be 
practised  slowly,  with  ' '  half- voice, ' '  and  breath  thoroughly 
under  control.  A  ''pushed"  breath  will  make  its  rapid,  just 
delivery  impossible.  This  scale  may  with  advantage  be  first 
studied  in  small  rhythmic  sections,  so  constructed  as  that  the 
ear  may  retain  a  note  of  the  common  chord  as  a  point  of  rest, 
or  guide  ;  for  example  : 


S: 


^ 


^-^^ 


Ah, 


ah,, 


Passages  calling  for  agility  are  frequent  in  the  oratorios 
and  cantatas  of  the  old  masters.  These  furnish  good  material 
for  choral  drill  in  this  department :  see  "  Messiah,"  "  Samson," 
"Creation,"  "  Matthew  Passion."  The  choruses  "Wretched 
Lovers,"  and  "Galatea,  Dry  thy  Tears,"  from  "Acis  and 
Galatea, ' '  (  Handel  ) ,  are  particularly  recommended. 


tOp.  cit.      See   also   Art   of   Singing,  Part  II. 
Method  of  Singingj  J.  Stockhausen. 


Wm.  Shakespeare ; 


130  CHOIR   AND    CHORUS    CONDUCTING. 


Chapter  XI. 

The  prompt,  simultaneous  attack  of  the  first  note  and 
release  of  the  last  note  of  a  phrase  is  indispensable  to  good 
delivery. 

To  this  end  the  singers  must  be  drilled  until  thoroughly 
familiar  with  the  music,  especially  as  regards  time  and  pitch. 

The  conductor  must  not  give  the  signal  for  the  attack  until 
he  is  sure  he  has  the  attention  of  all  the  singers. 

Promptitude  in  attack  depends  largely  upon  breath-taking. 
Choralists  should  take  breath  in  good  season,  before  the  moment 
for  attack  arrives. 

For  drill  in  attack  a  slow-moving  hymn-tune  may  be  used 
in  this  way  :  Let  each  division  sing,  in  turn,  one  or  two  words 
of  the  text,  taking  care  to  begin  at  exactly  the  right  moment 
so  that  the  tempo  is  strictly  maintained.     For  example  : 


4 


±=i^ 


Sav  -  iour,  bless  -  ed       Sav  -    iour,       List  -  en  while  we       sing. 
(Sop's .)  (Altos )  (Tenors )(Ba8ses.) 

Next,  require  one  division  to  sing  until  the  signal  is  given  to 
another  division  to  take  up  the  melody,  which  may  be  done  at 
any  point.  This  will  keep  attention  concentrated  upon  the 
conductor.  The  power  of  tone  must  be  maintained,  so  far  as 
circumstances  will  allow,  by  each  division  as  it  begins  to  sing. 

The  choir  may  then  be  drilled  to  sing  the  line  in  unison, 
taking  breath  as  marked,  but  without  altering  the  tempo.  The 
repetitions  may  be  hastened,  so  as  to  give  drill  in  taking  the 


THE   CHOIR.  131 

half-breath  after  '^  Saviour,"  and  making  the  attack  on 
' '  listen  ' '  in  strict  time  and  with  pure  vowel,  and  full  voice. 

A  line  in  which  the  first  word  and  the  word  after  the 
half-breath  begin  with  a  vowel  should  also  be  used  for  drill  on 
the  open  or  vowel  attack. 

Initial  consonants  should  be  delivered  swiftly,  so  that  the 
vowel  shall  be  reached  as  quickly  as  possible.  This  rule  is 
subject  to  an  occasional  exception,  as  when  a  special  effect  in 
delivery  is  desired  and  only  to  be  gained  through  dwelling  upon 
an  initial  consonant. 

Precision  in  release  must  be  worked  for.  Drill  may  be 
given  on  hymns  in  stopping  the  tone  at  the  end  of  the  phrase, 
exactly  at  the  right  moment,  and  simultaneously.  Of  twenty 
sopranos  in  a  choir,  not  more  than  six  may  ordinarily  be 
trusted  to  utter  a  final  consonant,  concluding  a  phrase,  at  the 
same  instant. 

When  a  phrase  ends  with  a  vowel,  as 

' '  Jesus  Christ  is  risen  to-day, ' ' 

the  tone  is  correctly  released  simply  by  witholding  or  taking  off 
the  breath  at  the  right  moment,  leaving  the  jaw  and  tongue 
motionless.  If  tongue  and  jaw  move  there  is  likely  to  be  a 
click  in  the  throat. 

When  a  phrase  ends  with  a  consonant,  the  final  consonant 
must  be  sounded  within  the  time  of  the  note  alloted  to  the 
syllable. 

The  tempo  must  not  be  delayed  by  the  taking  of  the  half- 
breath.  The  utterance  of  a  final  consonant  preceding  a  half 
breath  must  be  clear  and  very  swift. 

Technically,  as  an  item  of  tone-production,  correct  attack 
is  a  matter  of  great  importance.  The  mode  of  attack  on  a 
vowel  influences  the  quality  of  the  tone.  The  clear  attack, 
without   breath-rush   or  cl^k   in   the   throat,   is  the  correct, 


132  CHOIR   AND    CHORUS    CONDUCTING. 

normal  attack.  The  explosive  attack  with  click  at  the  larynx, 
and  the  soft,  aspirated  (breathy),  attack  may  occasionally  be 
used  for  special,  expressive  purposes. 

The  acquisition  of  the  normal  attack  by  a  choir  may  be 
aided  by  the  practise  of  ''  Ha  !  ha  !  ha  !,"  three  tones  on  one 
pitch,  at  first  with  a  well-marked,  audible  ''H,"  gradually 
reducing  the  force  of  the  ''H"  until  it  disappears,  and  the 
tone  begins  as  a  clear  ^  'Ah  ' '  without  aspirate  or  click.  Neither 
jaw  nor  tongue  should  move  during  this  exercise.  The  pitch 
may  be  varied.     Later  the  exercise  may  be  used  in  this  form  : 


rf — ^ 

^                 ^          ^ 

\                \ 

t¥=^i^ 

^— i^    i^^ 

^-^-iM— iM- 

fJ 

Ha!  ha!  ha!  ah,  .         ah,  ah. 

Special  technical  exercises  on  attack  should  not  be  practised 
longer  than  two  minutes. 

Each  division  of  the  choir  should  be  encouraged  to  attack 
with  boldness.  ' '  If  you  make  a  mistake,  make  a  decided 
one,"  is  a  frequent  saying  of  a  conductor  whose  chorus  is 
noted  for  boldness  and  precision  in  attack. 


THE   CHOIR.  138 


Chapter  XII. 


The  foundation  of  the  singing  style  is  the  legato. 

First  drill  in  this  department  is  had  on  vocalizes. 
Familiar  hymn-tunes  may  be  sung  to  each  of  the  principal 
vowels  in  succession,  with  the  object  of  acquiring  the  ability 
to  carry  the  tone  from  one  pitch  to  another  firmly,  smoothly, 
and  with  clear  articulation  of  each  pitch,  avoiding  smearing  of 
the  intervals.  Later  a  change  from  one  vowel  to  another  may 
be  made  upon  each  note.  This  involves  the  equalization  of 
the  vowels,  if-  a  true  legato  is  to  be  obtained.  Singers  are  apt 
to  change  the  color  of  the  tone  when  they  change  the  vowel. 
Consequently,  the  phrase  does  not  present  to  the  ear,  as  it 
should  do,  a  smooth,  unbroken  line  of  tone  : 


E  EH  AH  0  00 

but  an  effect  something  like  this  : 


V 


E         EH       AH        0        00 

fThe  AH  is  the  central  vowel  in  pitch  and  color,  and  the 
high-pitched  and  high-colored  E  and  EH  should  be  brought 
down,  and  the  low-pitched  and  dark-colored  00  and  O  be 
brought  up  toward  the  pitch  and  color  level  of  a  rich  Ah. 
This  by  no  means  prevents  variation  of  tone-color  for  expres- 
sive purposes.  It  simply  means  equal  freedom  and  beauty  of 
tSee  Vocal  Reinforcement— E.  J.  Myer.  Pronunciation  for  Singers. — 
Ellis. 


134  CHOIR    AND    CHORUS    CONDUCTIIs'G. 

tone  on  all  vowels,  with  a  true  legato  in  passing  from  one 
syllable  to  another,  as  well  as  in  going  from  one  pitch  to 
another.  The  enriching  quality  or  color  of  the  full-throated 
Italian  Ah,  the  noblest  of  vowels,  is  blended  wdth,  or  diffused 
through  each  of  the  other  vowels,  and  this  without  causing 
any  vowel  to  lose  its  individuality. 

First  drill  on  equalization  may  be  given,  at  one  pitch,  thus  : 

Ah— Eh 

Ah— Eh— E 

Ah— O 

Ah— 0—00 

Ah— E 

Ah— 00 

E— Ah 

00— Ah 

E— Ah— 00— Ah— E 

00— Ah— E— Ah— 00 

In  making  these  vowel  changes  there  should  be  little  move- 
ment of  the  jaw  ;  tongue  and  lips  should  be  free. 

Drill  for  the  staccato  with  a  vowel  is  subject  to  the  same 
instructions  as  are  given  for  the  vowel  attack.  It  should  never 
be  long-continued,  as  it  is  a  severe  gymnastic  for  the  throat. 

The  sol-fa  syllables,  doh,  re,  mi,  etc. ,  furnish  good  material 
for  staccato  practice.  Preliminary  practice  may  best  be  made 
on  one  syllable,  as  lah,  at  a  medium  pitch. 

A  good  legato  delivery  can  only  be  attained  on  the  basis 
of  breath-control.  The  tones  are  drawn  or  spun  into  each 
other,  yet  with  each  pitch  distinctly  indicated. 

Breath-control  is  equally  important  for  the  correct  delivery 
of  the  staccato,  for  without  it,  the  successive  short  tones  are 
certain  to  be  struck  with  a  click  or  explosion  in  the  larynx, 
which  is  most  dangerous  to  the  throat  and  voice. 


THE   CHOIR.  135 


Chapter  XIII. 

In  singing  runs  and  scales  in  an  ascending  direction, 
choralists  are  likely  to  strain  or  force  the  voice  and  conse- 
quently to  smear  the  intervals,  or  to  sing  out  of  tune.  It  is 
wise  to  practice  upward  runs  and  scales  decrescendo,  taking  care, 
however,  to  keep  up  the  relative  pressure  of  the  breath,  with 
freedom  of  jaw  and  tongue. 

Where  a  run  passes  from  a  low  or  middle  note  into  the 
highest  part  of  the  range  of  a  given  class  of  voice,  it  is 
better  that  it  should  be  commenced  with  somewhat  less  than 
normal  power  at  the  lower  pitch.  In  this  way  the  danger  of 
forcing  the  upper  notes  is  lessened,  and  the  run  may  be 
delivered  clearly  and  smoothly. 


Chapter  XIV. 

Pfonunciation  relates  to  the  sound  and  stress  given  to  the 
syllables  of  a  word. 

Enunciation  relates  to  the  manner  of  utterance  of  the 
sounds  of  a  language  ;  as — distinct  or  indistinct.  One  may 
enunciate  well,  yet  mispronounce. 

Articulation^  for  the  purposes  of  this  chapter,  relates  to 
the  utterance  of  consonants.  Pronunciation  and  vowel  enun- 
ciation may  be  correct,  while  the  articulation  or  delivery  of 
consonants  may  be  faulty. 

Pfonunciation. — In  preparing  for  drill  in  pronunciation, 
the  Century  Dictionary  and  ''Pronunciation  for  Singers,"  by 
Ellis,  may  be  consulted.  As  has  been  remarked,  the  usage  of 
cultivated  society  largely  governs  local  pronunciation. 


lae 


CHOIR    AND    CHORUS    CONDUCTING. 


In  deciding  upon  pronunciation  for  singing,  it  should  be 
remembered,  as  a  principle,  that  singing,  or  the  sustaining  of 
tone,  is  done  upon  vowels.  For  the  sake  of  broader,  richer 
tone  quality  in  singing,  vowels  may  be  somewhat  modified,  as 
compared  with  their  use  in  speech.  AVhere  two  pronunciations 
have  equal  authority,  that  having  the  broadest  vowel  should 
be  chosen  for  singing. 

If  a  syllable  is  to  be  sustained,  it  should  be  furnished  with 
a  vowel,  as:  '^spoken"  and  not  '^spokn,"  ^^peopul,"  not 
'^peopl." 

A  vocal  consonant  is  a  poor  substitute  for  a  vowel : 
(Written.)  (Wrongly  sung.) 


4 


^E3 


Fails. 


.Fai    -     1 


(Rightly  sung.) 


Fai  -  Iz. 


There  are  six  short  vowels,  so-called.  Of  these  the  ^  (in 
sat,  lament)  may  be  much  broadened  toward  ^'Ah,"  as  ^'3," 
is  thin  and  unmusical.  Of  the  remaining  vowels,  i,  as  in 
pity  ;  e,  as  in  let ;  o,  as  in  lot ;  and  oo,  as  in  foot  or  put, 
may  be  given  somewhat  of  the  color  of  ^'Ah."  The  u,  in 
cut,  is  closely  allied  to  ' '  ah, ' '  and  needs  but  slight  modi- 
fication. 

Yowel  modification  must  be  kept  within  bounds,  so  that 
the  individuality  of  the  vowel  may  not  be  lost.  Otherwise  the 
words  may  become  unintelligible. 


THE    CHOIR. 


137 


The  short  i  of  ^^pity"  must  not  be  changed  to  the  e  of 
' '  feet, "  as  is  likely  to  be  the  case  with  those  singers  who  have 
been  trained  much  upon  e  in  the  ^^  placing  "  of  the  voice. 

Of  the  long  vowels,  a  as  in  ''  fate  "  has  a  second  sound, 
or  '  '■  vanish  ' '  like  i  in  ' '  pity  "  :  ' '  eli-i  "  ;  o  as  in  '  ^  so  "  has  a 
' '  vanish  ' '  like  oo  in  '  ^  food. ' '  In  singing,  the  tone  must  bf 
sustained  upon  the  first  or  primary  vowel,  and  the  second  o) 
vanish  lightly  and  quickly  touched  as  the  syllable  is  ended. 


(Written.) 


(Rightly  sung.) 


(Not. 


m^Ei=I=^=S!=}=S 


Fate. 


Fa 


Fa 


In  such  words  as  ' '  are,  peer,  near,  there,  four, ' '  there  is 
a  tendency  to  dwell  upon  a  second  vowel,  immediately  preceding 
the  ' '  r. "  In  all  such  cases  the  vowel  effect  is  enhanced  by 
pronouncing  the  primary  vowel  long,  almost  eliminating  the 
secondary  vowel,  and  giving  the  ''r"  a  short,  soft  trill. 


(Correct.) 


(incorrect.) 


ffi 


m 


Ne 
(Near.) 


^r. 


Ne 


The  vowel  ' '  e  "  in  '  ^  let, '  *  as  used  in  final  syllables,  for 
instance  :  ' '  speak-eth, "  ' '  start-ed, "  ' '  an-them, "  ' '  an -gel, ' ' 
should  be  given  with  care,  but  may  be  shaded  slightly  toward 
' '  ah. ' '  It  must  not  be  changed  to  ' '  u  "  in  "  cut, ' '  thus  : 
^^an-thiim." 

The  intermediary  vowel  found  in  'Svhether,"  '^  pearl," 


burn, 


"  ^Hhird,"  '' 


were, "  ' '  worthy, ' '  approximates  or  leans 


138  CHOIR    AND    CHORUS    CONDUCTING. 

toward  ' '  u  "   in   ^ '  cut. ' '      Tone  should  be  sustained  on  this 
vowel,  and  not  on  the  '  ^  r  "  element,  as  : 


i-^—  I        1—1: 


Uu  -        -        -         m. 

(Not)    Bur        -        -        -         n. 


Care  should  be  taken  to  give  final  ^  ^  r  "  a  soft,  short  trill. 

'^Bu— rn"  not  '^Bu— n." 
Such  words  as  '^  light  "  (  lah — it  )  must  be  sung  : 

(Correct.)  (Incorrect.) 


Lah        -        -    it.  Lah  -  eet. 

''Aye"  meaning  ^'yes"  is  pronounced  as  is  the  personal 
pronoun  I.     '  ^  Aye ' '  meaning  ' '  ever, ' '  as  the  ' '  a  "  in  ' '  fate. ' ' 

''The"  before  a  vowel,  or  ''h,"  is  pronounced  ''thee;" 
before  a  consonant,  "  thu." 

In  "listen,"  "often,"  and  similar  words,  the  "t"  is  not 
sounded. 

"  Heaven,"  "leaven,"  etc.  may  sometimes  be  pronounced 
as  of  one  syllable  ;  if  as  of  two  syllables  the  second  must  have 
a  distinct  vowel  before  the  final  consonant.  See  general  prin- 
ciple above. 

The  requirements  of  rhyme  will  usually  decide  whether 
"wind"  shall  have  the  long  or  the  short  I.  When  possible, 
for  the  sake  of  sonority,  the  word  should  be  pronounced  with 
the  long  sound. 


THE    CHOIR.  139 

The  chief  diphthongs  must  be  treated  thus  : 


1/    o 

___^ 

-i^-4'- 

—  !   1   h 

=1- 

^- 

Vy'y     T-          1       '    J       '       1        J       '          ,'  ' 

Ah-1— i  in  ^' light." 

Lah 

« 

It. 

Aw-i — oy  in  ' '  boy. ' ' 

baw 

- 

- 

1. 

Ah-oo — ou  in  ' '  sound. ' ' 

sah 

- 

- 

oond 

I-oo — u  in  ^ '  tune. ' ' 

tioo 

_ 

_ 

n. 

In  the  last  case  the  vocalizing  is  done  upon  the  ^^  oo^ 

For  the  sake  of  distinctness  it  is  better  to  give  ' '  r, "  wher- 
ever found,  a  trill.  The  length  and  force  of  the  trill  will  be 
governed  by  circumstances.  At  the  beginning  of  a  word  it 
may  usually  be  stronger  and  longer  than  at  the  end  of  a 
word.  In  tender  passages  it  may  be  delivered  with  a  soft 
distinctness,  which  is  effective. 

Distinctness,  with  ease  of  emission,  are  prime  considera- 
tions in  deciding  upon  the  division  of  words  for  singing. 

The  consonants,  m,  n,  1,  r,  v,  z,  and  the  diphthongs  ng, 
th,  (the),  zh,  (azure),  have  more  or  less  vocality,  and  if 
properly  delivered  are  always  distinct. 

The  explosives  p,  t,  and  k,  are  most  distinct  when  allotted 
to  the  following  vowel,  as  :  ''  ta-ken,"  not  ''  tak-en,"  ^'  pi-ty," 
not  ^'pit-y,"  ^'to-pic,"  not  ''top-ic." 

In  most  cases  ease  of  emission  is  promoted  by  allotting  the 
consonant  to  the  vow^el  following  ;  this  is  especially  so  when 
the  second  syllable  is  taken  by  skip,  as  : 


^; 


bro  -  ken    thy 


140  CHOIR    AND    CHORUS    CONDUCTING. 

When  a  consonant  immediately  precedes  r  or  1,  as  :  pr,  br, 
tr,  dr,  kr,  gr,  pi,  bl,  tl,  dl,  kl,  gl,  the  combination  is  to  be 
treated  as  one  sound,  and  usually  allotted  to  the  vowel 
following  :   ' '  i-dler, ' " '  se-cret, "  ' '  tri-plet. ' ' 

Words  such  as  '^  supply,"  and  ''suffer"  should  be  con- 
sidered as  having  but  one  medial  consonant  and  that  allotted 
to  the  following  vowel,  as  :   ''  su-ply,"  ''  su-fer." 

Avoid  errors  such  as  :  Prefixing  m  or  n  where  not  part  of 
the  word  :  "n-do  "  for  ''do,"  "m-benighted  "  for  "  benighted." 
Failure  to  repeat  a  consonant  which  ends  one  word  and  begins 
the  next,  as  :  "  thatrain  "  for  "  that  train."  Failure  to  sepa- 
rate words  by  distinct  utterance  of  final  and  initial  elements  : 
as  ' '  awakright ' '  for  ' '  awake  right, "  '  ^  thevening ' '  for  ' '  the 
evening,"  "  thateavenly"  for  "  that  heavenly , "  "gloriousope" 
for  ' '  glorious  hope. ' ' 

Enunciation* — In  this  chapter,  as  indicated,  enunciation 
refers  to  the  utterance  of  the  vowel  sounds.  The  pronunciation 
of  a  word  having  been  decided  upon,  its  vowel  elements  must 
be  delivered  with  fidelitj^  and  clearness.  If  "Ah  "  is  intended, 
then  "Aw"  must  not  be  sung.  The  first  and  great  requirement 
for  enunciation  is  that  the  vowel  sounds  shall  be  so  uttered  as 
to  be  easily  understood.  In  order  to  effect  this,  the  utterance 
of  the  consonants  must  not  be  permitted  to  modify  the  vowel, 
or  ' '  blur  "it  in  the  least  degree.  Further,  the  vowel  must 
have  as  much  as  possible  of  the  time  of  the  note  to  which  it  is 
placed  ;  the  longer  the  duration  of  the  vowel,  the  more  likely 
is  it  to  be  understood.  The  true  ' '  singing  style  ' '  demands  the 
sustaining  of  tone  ;  this  is  done  on  the  vowels. 

When  syllables  change  rapidly  on  one  pitch,  great  care 
must  be  taken  to  give  the  vowels  purety  —  with  true, 
full  sound.  Short  words,  "at,"  "an,"  "and,"  etc.,  are 
often  much  slighted  as  regards  enunciation,  as  well  as  in  the 


THE    CHOIR.  141 

articulation  of  consonants.  When  one  vowel,  (syllable),  is 
given  to  several  pitches,  care  must  be  taken  to  keep  the  vowel 
distinct  on  all  pitches. 

The  practice  of  the  syllables  ^ '  1-2-3-4-5-6-ah  ;  "  ''lah,- 
beh,-nee,-po,-too;^^  a,nd^^ doh,-re,^mi,-fah,-sol,-lah,-si,^^ on  mono- 
tones, and  scales,  at  tempi  ranging  from  very  slow  to  very  fast, 
is  recommended  for  study  in  enunciation.  The  thought,  in 
this  exercise,  must  be  centred  on  the  vowels,  that  they  may  be 
kept  true  and  full.    The  features  must  be  kept  free  from  rigidity. 

The  diphthongs  may  be  practised  in  this  order  : 


i 


5^d 


i  —  00       ah  —  1      aw  —  i      ah  —  oo 
(tune)         (my)  (oil)  (now) 

(view)        (light)         (boy)         (town) 

The  tongue  tip  should  lie  lightly  against  the  lower  front  teeth, 
and  the  jaw  remain  motionless. 

Articulation* — If  consonants  are  constantly  over-empha- 
sized the  legato  is  destroyed — the  singer  does  not  sing.  If  too 
little  attention  is  given  to  the  utterance  of  consonants,  the 
singer  is  not  understood. 

The  larger  the  auditorium,  the  more  forceful  should  be  the 
delivery  of  consonants.  Exaggeration,  however,  should  be 
avoided. 

The  delivery  of  a  consonant  may  be  emphasized  or  modi- 
fied for  a  special,  expressive  purpose. 

Final  consonants  are  most  often  slighted. 

The  ''  vocal  "  consonants  are  :  m,  n,  1,  r,  and  the  combina- 
tion ng. 

They  should  be  given  sufficient  duration  to  make  them 
distinct,  but  not  to   take  the  place  of   a  vowel.     Properly 


142 


CHOIR    AND    CHORUS    CONDUCTING. 


delivered  they  contribute  greatly  to  the  preservation  of   the 
legato  and  to  intelligibility. 

The  ^  ^  semi-vocal "  consonants  v,  th  (as  in  ^'thou,")  z  in 
''ooze,"  and  zh,  (the  "  z"  in  "azure")  have  a  sound  which 
is  of  the  nature  of  a  buzz.  These  elements  are  inherently 
unmusical,  and  should  be  dwelt  upon  only  long  enough  to 
render  them  distinct. 

The  "  sub-vocal "  consonants  b,  d,  j,  (as  in  John  and  soft 
"g"  as  in  "gem,")  with  g  (as  in  ''go,")  have  a  very 
brief  moment  of  vocality  preceding  the  explosion  which 
characteristically  closes  their  utterance. 

All  the  consonants  so  far  named  may  be  practised  upon  a 
monotone,  and  also  upon  the  pitches  of  the  scale,  without 
the  aid  of  a  preceding  or  following  vowel.  Such  practice  is 
useful  in  securing  intelligibility  and  good  tone  production. 

An  absolutely  essential  requirement  for  this  exercise,  how- 
ever, is  complete  freedom  from  stiffness  of  jaw,  tongue  and 
lips.  Done  with  rigidity  at  either  point  it  is  dangerous 
to  the  voice. 

To  gain  a  sense  of  the  vocality  of  b,  d,  j,  and  hard  g,  this 
exercise  may  be  practised  : 


Slowly 


The  effort  should  be  to  sustain  the  tone  on  the  second  note  a 
moment,  before  permitting  the  explosion  which  completes  the 
articulation  of  the  consonant. 

The  consonants  p,  t,  k,  are  non-vocal,  ("mute")  and 
explosive. 

The  consonants  f   and  s,   together  with  the  consonantal 


THE    CHOIR. 


143 


combinations  sh  ( ^ '  shall  " )  ch  (' '  chill ' ' )  and  th  ( ^ '  thin  " )  are 
of  the  nature  of  ' '  hisses. ' '  These  are  thoroughly  unmusical, 
and  their  force  and  duration  must  be  minimized  as  much  as  is 
consistent  with  distinctness. 

All  consonants  or  consonantal  combinations  having  vocal- 
ity  should  be  sung  upon  the  pitch  of  the  accompanying  vowel,  as  : 


i 


3 


=      b  -  ee 


A  common  fault  in  this  connection  is  to  practically  rob  the 
consonant  of  all  vocality.  Another  is  to  pitch  it  lower  than 
the  pitch  of  the  vowel,  as  : 


a 


B 


Fundamental  requirements  for  good  tone  production  and 
delivery  of  the  text  are,  that  the  breath  shall  be  under  genuine 
control,  and  the  throat  and  articulating  organs  free  to  act 
vigorously  and  rapidly. 

All  consonants  having  an  explosive  element  in  their  forma- 
tion, tend  to  destroy  control  of  the  breath.  They  can  and 
ought  to  be  sounded  without  sacrificing  breath  control.  Thus, 
p,  t,  k,  which  are  essentially  explosive,  may  be  practised 
with  great  energy,  on  a  perfectly  ho^ld  breath — witliout  a  voAvel 
and  without  breath  escape  from  the  lungs.  The  explosion  in 
the  mouth  cavity  on  this  method  is  much  more  distinct  and 
the  consonants  can  be  heard  at  a  greater  distance  than  when 
the  explosion  is  accompanied  by  a  rush  of  air  from  the  lungs, 
as  is  the  ordinary  method. 


144  CHOIR    AND    CHORUS    CONDUCTING. 

The  ' '  sub- vocals, "  b,  d,  "  hard  ' '  g,  and  j ,  may  also  be 
practised  with  vigor,  yet  without  waste  of  breath. 

In  the  case  of  f ,  th  ( ' '  thin  "  )  s,  sh,  and  the  aspirate  h, 
there  is  usually  a  waste  of  breath.  When  rightly  done  the 
control  of  the  breath  is  not  for  an  instant  abandoned. 

If  the  singer  will  rightly  control  his  breath,  managing  it 
constantl}^  as  though  singing  only  on  vowels,  he  may  sing 
legato  and  at  the  same  time  deliver  the  consonants  with 
distinctness. 

This  method  of  delivery  holds  good  no  matter  what  the 
consonant  or  combination  of  consonants  used. 

Drill  on  the  consonants  may  be  made : 

(1)  On  the  consonant  alone, 

(2)  With  a  vowel  preceding, 

(3)  With  a  vowel  following, 

(4)  With  a  vowel  preceding  and  following. 

A  good  work  on  elocution  wall  furnish  a  list  of  consonant 
combinations  which  may  be  used  for  special  drill  as  needs  may 
indicate. 

The  sol-fa  syllables,  do,  re,  mi,  etc.,  ^^ah,  beh,  nee,  po,  too,^^ 
and  ordinary  numerals  from  one  to  eight,  may  be  used  on  a 
monotone  and  scales  for  drill  upon  consonants.  The  staccato 
delivery  is  particularly  useful  as  a  first  step  ;  afterward  the 
legato  may  be  used. 

These  consonants  can  and  should  be  practised  without 
movement  of  the  jaw  : 

tailk,  cZawn,  chedk,  corn,  kill,  g,o,  thou,  la,w,  rod,  no,  ring. 
No  matter  what  the  action  of  the  tongue  in  forming  a  conso- 
nant, it  must  lie  lightly  against  the  lower  front  teeth  on  all 
vowels. 

The  words  of    a  hymn-tune,  anthem  or  chorus  may  be 


THE   CHOIR.  145 

analyzed,  and  used  for  drill  in  enunciation,  and  in  articulation 

of  CQnsonants,  according  to  the  principles  herein  given.     As  : 

12   3        4         5         6 

^  ^  Savior,  I  my  cross  have  taken. ' ' 

(1)  Consonants — s,  v,  r  ;  vowels — eh-i,  1-ii. 


(2) 

Vowels — Ah-1 . 

(3) 

Consonant — m  ; 

;  vowels — ah-1. 

(4) 

Consonants — k. 

r,  (or  kr),  s  ;  vowel- 

—Aw. 

(5) 

Consonant — v  ; 

aspirate — h  :  vowel- 

-Ah. 

(6) 

Consonants — t, 

k,  n  ;  vowels — eh-1  and  ^'  e  " 

(as 

in  whether 

0 

Special  < 

care  must  be  taken,  in  recitative,  to  deliver  the 

consonants  distinctly. 

Chapter  XV. 

Drill  upon  the  three  forms  of  voice  [see  page  104]  may  be 
given  thus  : 

Small  Form — Mouth  slightly  open  ;   tone  upon  the  lips,  little 
volume.     Preliminary  practice  on  a  monotone  : 

'' Lee,-nee,-tee,-dee,-thee,-vee,-mee,"    enunciated    rap- 
idly and  smoothly,  ^,  m/,  and  /.     Next  some  light  glee  or  part- 
song,  as  '  ^  You  Stole  my  Love, ' '  by  Macfarren. 
Medium  Form — Mouth  more  open  ;  preliminary  drill  as  above, 
on 

'^Leh,-neh,-teh,-deh,-theh,-veh,-meh,"  with  the  three 
degrees  of  force.  Next  use  an  anthem  of  praise  (not  of 
devotion  or  aspiration)  such  as  ''I  will  Sing  unto  the  Lord," 
by  C.  H.  Tebbs;  '^The  Lord  is  Thy  Keeper,"  by  F.  W. 
Wodell,  or  a  selection,  such  as  '^  The  Wreck  of  the  Hesperus," 
by  T.   Anderton.      The   greater   part  of  secular  and   sacred 


146  CHOIR   AND    CHORUS    CONDUCTING. 

music  is  to  be  sung  on  medium  form.  A  given  selection  may, 
by  reason  of  change  of  style,  require  the  use  of  each  form  in 
alternation. 

Large  Form — Mouth  well  open.  Preliminary  drill,  as  above, 
on 

''Ah,"  "aw,"  and  ''oh,"  prefixed  by  1,  n,  t,  d,  th  (in 
' '  thou  "  )  V,  and  m.  Next  a  solemn  or  grand  anthem,  requiring 
breadth  and  fulness  in  tone  and  plirasing  for  its  adequate 
interpretation,  as,  "Blessed  Jesu,  Fount  of  Mercy"  by 
Dvorak;  "  Inflammatus,"  Rossini;  "Hear  Jacob's  God," 
(Samson)  Handel  ;  "Credo,"  {Messe  Solennelle)  Gounod. 

Time  is  saved  by  giving  some  drill  in  accentuation,  primary 
and  secondary,  on  a  monotone  to  the  syllable  ' '  lah. ' '  This 
develops  a  feeling  for  accent,  while  the  mind  is  not  troubled 
with  problems  of  changing  pitch,  enunciation,  and  accent  at 
the  same  time. 

All  kinds  of  measure  and  rhythm  should  receive  atten- 
tion. Particular  care  should  be  taken  to  develop  a  feeling  for 
secondary  accents.     For  example  : 


i 


may  be  accented   in  two  ways.      [See  Chapter    on    "Time- 
beating."] 

A  very  light  pressure  should  be  given  to  the  first  note  of 
each  group  of  notes  taking  the  time  of  a  beat.  In  this  way 
rhythmic  grouping  is  made  clear.     For  example  : 


THE   CHOIR.  147 

Drill  on  special  dynamic  effects,  such  as  the  fp.  is  best 
given  on  a  monotone,  to  "  lah  "  and  later  ''Ah,"  taking  care 
in  the  latter  case  to  avoid  a  click  in  the  throat  on  the  attack. 
Choir  singers  will  perhaps  more  quickly  grasp  the  effect  desired 
if  it  is  represented  thus  : 

/ p 


fj 


f=: 


Special  accentuation  {marcato,  martellato)  for  expressive 
purposes,  is  also  best  taught  first  on  a  monotone  to  ' '  lah. ' ' 
Later  a  familiar  chant  or  hymn-tune  can  be  used.  [  See  page 
83.] 

Drill  in  shading,  for  which  the  exercises  on  the  swell  [see 
page  123.]  are  an  excellent  preparation,  may  first  be  given  on 
a  monotone  to  ' '  lah ' '  and  ' '  Ah. ' '  The  singers  must  follow 
the  conductor's  signals  for  the  increase  or  decrease  of  force. 
To  do  so  they  must  know  the  music  by  heart.  For  this  reason 
the  chant  and  familiar  hymn  tune  on  the  syllables  given,  and 
later  with  the  text,  furnish  best  material  for  this  drill. 

In  this  drill  the  conductor  will  make  many  changes  in  the 
order  of  use  of  the  various  degrees  of  force  in  the  delivery  of 
a  single  line,  as  : 

forte,  mezzo-forte,  piano,  pianissimo, 
mezzo  forte,  forte,  piano,  fortissimo. 
and  so  on. 

All  vowels  can  be  colored  dark  or  bright,  clear  or  sombre, 
or  one  of  many  shades  between  these  extremes.  The  ' '  e  "  in 
''  feet"  is,  however,  normally  a  bright  or  clear  vowel,  and  the 
"oo"  in  ''food"  a  dark  or  sombre  vowel.  Preliminary  drill 
in  coloring  tone  may  therefore  best  be  given  on  a  monotone 
with  sentences  containing  these  two  vowels,  uttered  with  the 
purpose  of  noting  the  characteristic  and  contrasting  colors,  as  : 

"  I  am  well  pleased.''^ 

' '  I  am  in  a  sad  mood. ' ' 


148  CHOIR   AND   CHORUS   CONDUCTING. 

The  first  sentence  may  be  uttered  with  bright  tone,  and 
the  second  with  dark  tone  throughout.  To  do  this  successfully 
the  singers  must  be  asked  to  assume,  for  the  moment,  that  they 
are  actually  expressing  their  own  feelings  in  the  language  used. 
The  tone,  if  the  vocal  organs  are  free,  will  naturally  be  darker 
or  more  ' '  sombre ' '  in  the  second  than  in  the  first  sentence. 
This  is  the  great  principle  underlying  artistic  tone-coloring  for 
singing. 

Easy  pieces  in  which  the  sentiment  is  alternately  joyous 
and  sad  may  next  be  used,  and  the  choir  asked  to  describe, 
in  their  owm  language,  the  change  of  sentiment  or  mood,  line 
by  line.  Next,  they  may  be  asked  to  sing,  retaining  the  mental 
' '  picture  ' '  as  described.  This  will  aid  in  giving  appropriate 
color  of  tone,  as  the  text  is  delivered. 

Sentences  for  drill  on  bright  tone  are  : 
*'  Hail,  smiling  morn.'^ 
^'  Brightly  glows  the  day.'' 
^ '  Sweet  spring  is  here. ' ' 
''  Hark,  hark,  the  lark.'' 
^'May,  lovely,  smiling  May." 
For  dark  tone : 

^ '  I  am  so  sad. ' ' 
''  Thou  art  gone  to  the  grave." 
''Weep,  Israel,  weep." 
''  Hark,  from  the  tombs  a  doleful  sound  !  " 
The  tones  of  the  scale  have  each  a  special  effect.     Doh  is 
described  as  ' '  the  strong  and  firm  tone  ;  "  Be  '^  the  hopeful  or 
rousing  tone  ;  "  Mi  ' '  the  calm  tone  ; ' '  Fah  ' '  the  desolate  or 
awe-inspiring  tone  ;  "  Sol  ^^  the  grand,  clear  or  trumpet  tone  ;  " 
Lah   ''the  w^eeping   or  sorrowful   tone;"     Ti   (or  Si,)    "the 
sensitive,  piercing,  or  beseeching  tone."     Obviously,  drill  for 
skill  in  tone  coloring  can  be  made  more  effective  when  con- 
ducted with  the  use,  not  only  of  appropriate  text,  bul  also  of 


THE    CHOIR.  149 

appropriate  intervals.  The  bright  tone  can,  then,  be  most 
quickly  developed  on  the  arpeggio,  ' '  doh,  mi,  sol ; ' '  and  the 
dark  tone  on  the  arpeggio,  ' '  Za/i,  doh,  mi. ' ' 

The  Choir  Conductor  may  expect  to  meet  difficulty  in 
teaching  or  developing  tone-coloring.  Americans,  (or  the 
Anglo-Saxons,)  are  so  self-conscious,  self -repressed,  that  they 
feel  embarrassed,  as  though  making  themselves  ridiculous, 
when  endeavoring  to  give  themselves  up  to  the  feeling  of  the 
text,  and  to  sing  emotionally.  But  quiet,  kindly  perseverance 
by  the  teacher  will  do  wonders  in  this  connection.  A  little 
work  on  the  exercises  given,  will  soon  form  in  the  singers  the 
habit  of  giving  themselves  up  to  the  emotional  content  of  the 
text  and  music,  and  the  result  will  be  choral  singing  which, 
though  possibly  technically  defective  in  some  respects,  will 
thrill  the  heart. 


Chapter  XVI. 

The  singer  needs  more  than  the  living  breath. 

It  is  the  breath  in  the  chest  under  controlled  pressure  on 
which  the  voice  is  said  to  lean  and  which  gives  the  full,  clear 
note. 

The  vocal  instrument  is  sometimes  referred  to  as  an 
Aeolian  harp.  The  breath  is  not  to  rush  but  to  float  across 
the  strings  (through  the  throat)  and  thus  make  sweet  music. 

Drill  for  breath  control  has  already  been  dealt  with  in  a 
general  way. 

In  order  to  phrase  well  the  lungs  must  at  all  times  be  well 
supplied  with  breath.     Singers  must  therefore  learn  : 

(1)  To  measure  the  phrase  with  the  eye,  holding  it  in 
mind  as  a  unit,  not  as  a  series  of   individual  notes,  before 


150  CHOIR    AND    CHORUS    CONDUCTING. 

drawing  breath.  This  will  ensure  the  taking  of  a  supply  of 
breath  commensurate  with  the  length  and  character  of  the 
phrase. 

(2)  To  husband  the  breath,  especially  that  which 
remains  at  the  end  of  a  phrase.  This  prevents  the  collapse  of 
the  chest  so  common  with  bad  singers,  and  a  consequent  jerky 
inhalation  for  the  succeeding  phrase. 

(3)  To  take  the  quick  or  half -breath  noiselessly,  and 
without  disturbing  shoulders,  throat,  jaw  or  tongue. 

Drill  for  No.  1  will  suggest  itself  to  the  choir-director. 
Singers  should  be  encouraged  to  read  ahead  in  music,  as  in 
reading  ordinary  print. 

•f  Drill  for  No.  2  can  be  given  on  a  hymn  tune,  asking  the 
singers  to  stop  for  one  beat  at  the  end  of  a  line,  (taking  no 
new  breath,)  and  then  to  sing  ''Ah  "  for  four  slow  counts  with 
full  voice  and  good  quality. 

Drill  for  No.  3  may  be  had  on  the  scale  sung  to  the  vowel 
"Ah."  Breath  may  be  taken  after  each  group  of  two  notes, 
then  three,  etc.  The  scale  must  be  sung  strictly  in  time,  and 
the  breath  taken  in  the  time  of  the  last  note  of  a  group,  b}^  a 
quick,  light,  outward  movement  at  waist-centre  in  front,  and 
at  back  under  shoulder-blades. 


t  See  Art  of  Singing. — Wm.  Shakespeare. 


THE    CHOIR.  151 


Chapter  XVII. 


Each  choir-director  must  plan  his  rehearsal  as  best  suits 
the  circumstances  in  which  he  finds  himself  placed.  The  plan 
hereinafter  given  is  merely  by  way  of  suggestion,  and  may  be 
helpful  to  some. 


Plan  for  Choir  Rehearsal, 
Time  :— I  hour,  30  minutes. 

Drill  in  Voice-culture  and  Singing 15  minutes. 

Hymns  or  simple  anthems  already  in  rehearsal ....  15  minutes. 

Taking  up  new  music 30  minutes. 

Rest 10  minutes. 

Perfecting  one  or  more  numbers 20  minutes. 


The  time  allotted  to  voice-culture  is  likely  to  be  as 
fruitful  in  good  results  as  any  other  portion  of  the  rehearsal 
session.  The  drill  on  hymns  and  simple  music  may  well 
follow  as  part  of  voice  preparation  for  the  new  music.  The 
interval  for  rest,  conversation,  moving  about,  airing  the  room, 
is  also  a  feature,  the  value  of  which  is  likely  to  be  overlooked. 
At  least  one  number  should  be  perfected — that  is,  thoroughly 
prepared  for  performance — at  each  rehearsal.  Thus  is  a 
genuine  repertoire  accumulated.  Some  choirs  have  many 
selections  partially  learned,  but  practically  no  one  piece 
thoroughly  prepared. 


152  CHOIR   AND    CHORUS   CONDUCTING. 


Chapter  XVIII. 

Hymn-singingf* — Choir-hymns  should  be  practised  with 
especial  reference  to  expression.  The  object  is  either  to  make 
an  impression  upon  the  congregation — to  create  a  mood  ;  or  to 
voice,  for  the  people,  prayer,  aspiration,  praise,  etc. 

Drill  in  these  hymns  should  be  especially  directed  to  the 
following  points  : 

(1)  Study  of  the  meaning  of  the  words  of  each  line,  as 
well  as  of  each  stanza. 

(2)  Variation  of  tempo,  as  well  as  of  power  and  tone 
color. 

(3)  Distinctness  of  enunciation  and  articulation. 

(4)  Avoidance  of  the  spirit  of  choir-display  or  concert 
performance. 

The  hymns  ^^Lux  Benigvia/^  by  Dykes,  (''Lead,  Kindly 
Light");  and  '^Merrial,^^  (''Now  the  Day  is  Over,")  by 
Barnby,  are  suggested  for  study  in  this  connection. 

Congregational  hymns  should  be  studied  with  especial 
reference  to  the  following  points  : 

(1)  Precision  of  attack  and  release. 

(2)  Steadiness  of  tempo. 

(3)  Sharp  definition  of  rhythm. 

The  choir-preparation  should  be  for  leading  and  encour- 
aging the  congregation  in  the  hymn-singing. 

When  a  congregation  lags  these  devices  may  be  used  : 

(1)  Demi-staccato  delivery  of  a  line  or  two  by  organ 
and  choir. 


THE   CHOIB.  163 

(2)  The  release  of  the  final  note  of  the  phrase  a  moment 
too  soon.  This  will  usually  break  a  congregation  of  the  habit 
of  holding  on  to  the  final  note  of  the  phrase. 

(3)  The  slight  anticipation  of  the  first  beat  of  the 
phrase. 

Organ  and  choir  must,  of  course,  work  together  in  the  use 
of  these  devices.  It  is  of  little  use  to  sing  more  loudly,  or  try 
to  hurry  within  the  phrase. 

All  that  has  heretofore  been  stated  as  required  for  artistic 
choral  singing  applies  to  the  delivery  of  the  choir  hymn.  It  is 
a  question  how  much  can  be  done  in  the  way  of  expressive 
delivery  by  the  choir  and  organ  in  the  congregational  hymn. 
Circumstances  must  govern  ;  what  is  possible  with  one  congre- 
gation is  not  with  another.  The  point  to  be  borne  in  mind  is 
to  train  the  choir  to  lead,  and  to  encourage  the  people  to  sing 
in  the  congregational  hymns. 

''Gospel  "  hymns  call  for  no  special  drill,  except  possibly 
in  the  matter  of  rhythmic  accuracy. — giving  all  notes  their  due 
value — and  in  the  avoidance  of  slurring. 

Some  time  may  be  given  to  chanting,  following  the  drill 
upon  hymns.  This  drill  should  be  directed  to  the  following 
points  : 

(1)  A  distinct,  dignified  (  not  hurried  )  delivery  of  the 
Recitation. 

(2)  The  delivery  of  the  cadence  in  strict  time. 


154  CHOIR   AND    CHORUS    CONDUCTING. 


Chapter  XIX. 

Taking:  up  new  music* — The  following  suggestions  are 
made  with  a  view  to  the  saving  of  time  and  labor,  as  well  as 
to  securing  artistic  results  : 

Have  the  words  of  the  text  read  in  concert,  omitting 
repetitions.  Ask  for  opinions  as  to  general  character  of  the 
text,  as  :   joyous,  or  sad. 

Call  attention  to  variation  of  sentiment,  emotional  climaxes, 
imagery  employed  and  descriptive  passages. 

Have  the  four  vocal  parts  played  in  strict  tempo.  Require 
each  division  to  follow  with  the  eye  while  listening. 

Have  one  movement  sung  through  at  a  moderate  pace, 
making  no  stops,  no  matter  what  errors  are  committed. 
Instruct  the  singers  to  go  forward  as  well  as  they  can.  This 
develops  confidence,  and  ability  to  read  notation  readily. 

Ask  for  opinions  as  to  the  general  character  of  the  music, 
as  sad  or  joyous,  etc.,  also  variation,  if  any,  in  character  of 
phrases  or  sections. 

Call  attention  to  the  characteristic  rhythmic  and  melodic 
figures  of  which  the  movement  is  composed  ;  also  to  its  tonality 
and  predominant  harmonies.  Use  an  instrument  to  illustrate 
what  is  said. 

While  the  singing  is  going  on,  the  Director  should  note 
errors  and  points  of  difficulty,  especially  as  to  rhythm,  interval, 
intonation,  compass,  length  of  phrase  and  execution. 

Practice  unusual  or  difficult  rhythms  upon  a  monotone, 
at  medium  pitch,  to  '  ^  lah  ; ' '  next  with  words,  and  lastly  with 
words  and  music. 

An  unusual  or  difiicult  interval  should  be  played  until  its 


THE    CHOIR.  155 

quality  as  a  mere  interval  is  impressed  upon  the  ear  ;  then  its 
relation  to  the  harmony  should  be  made  apparent.  It  may 
then  be  sung,  repeated,  and  finally  sung  in  connection  with  the 
notes  of  the  phrase  which  precede  and  follow. 

If  the  difl&culty  arises  from  undue  height  or  depth  of 
pitch  the  interval  may  be  transposed  and  studied  until  it  is 
well-known,  and  then  taken  as  written. 

!N'otes  or  phrases  sung  out  of  tune  may  be  practised 
separately  on  lines  heretofore  suggested. 

Passages  offering  difficulty  in  execution,  should  be  practised 
separately,  at  an  easy  pitch  and  moderate  tempo,  and  lat^r 
sung  as  written. 

When  the  especial  difficulties  of  each  voice-part  have  been 
dealt  with,  each  division  should  be  required  to  sing  its  part 
through,  without  stopping,  and  with  especial  reference  to 
accuracy  in  tempo,  rhythm,  interval  and  intonation. 

The  divisions  may  usually  best  be  taken  separately  in  the 
following  order  : 

(1)  Bass,   (2)  Tenor,   (3)  Alto,  (4)  Soprano. 
Tenor  and  alto  may  then  be  combined  ;    next  bass,  tenor  and 
alto,  and  lastly  the  four  parts. 

When  one  movement  has  been  read,  succeeding  movements 
may  be  treated  in  the  same  manner  until  the  whole  composi- 
tion has  been  traversed.  It  should  then  be  read  through  with- 
out stop,  and  laid  aside  for  future  perfecting  in  precision, 
phrasing,  shading,  tone-coloring,  enunciation — all  the  items 
which  go  to  make  up  what  is  called  an  artistic,  expressive 
delivery. 

It  is  well  to  provide  at  least  two  selections  of  different 
styles  for  reading  at  each  rehearsal.  A  portion  of  each,  only, 
need  be  read.     In  this  way  interest  is  kept  up. 

Where  the  grade  of  musical  knowledge  and  feeling  permits, 
and  time  serves,    it  is    helpful  to  demonstrate  the    formal 


156  CHOIR   AND    CHORUS    CONDUCTING. 

construction  of  the  music.  A  choir  which  has  been  led  to 
discover  how  a  new  selection  is  made  or  put  together,  is  sure 
to  sing  with  intelligence  and  to  retain  an  interest  in  its  work. 

In  reading  new  music,  mistakes  as  to  rhythm  and  interval 
should  never  be  overlooked.  After  the  first  reading  without 
stop,  the  errors  must  be  dealt  with  as  separate  items.  It  is  of 
little  use  to  sing  a  whole  section  or  phrase  repeatedly  in  the 
hope  that  errors  will  somehow  disappear.  They  a-re  much 
more  likely  to  become  confirmed. 

When  practising  a  difficult  passage  it  is  usually  best  to 
first  take  it  slowly,  and  to  gradually  augment  the  rate  of 
movement. 

Perfecting  Music. — It  is  well  to  perfect  one  selection,  if 
possible,  at  each  rehearsal. 

The  singers  should  be  note-perfect  in  the  selection,  so  that 
time  can  be  given  to  points  of  expression  and  style. 

When  this  selection  has  been  gone  through  without  a 
break,  with  the  accompaniment,  it  may  be  sung,  a  capella. 
Only  when  a  number  has  been  well  sung,  without  the  aid  of 
Instruments,  can  it  be  said  that  it  has  been  perfected  by  the 
choir. 


THE   CHOIR.  157 


Chapter  XX. 


Hints  on  Choif  Pfeparation, — For  giving  a  choir  confi- 
dence nothing  equals  much  drilling  in  unaccompanied  singing. 

A  selection  should  be  sung  throughout  at  least  once  with- 
out error  before  it  is  performed. 

Some  directors  and  choirs  spend  much  time  upon  the 
most  pleasing  or  least  difficult  parts  of  a  composition.  On 
the  contrary,  the  more  difficult  parts  should  have  most 
attention. 

Points  of  danger,  (such  as  a  sudden  change  of  measure  or 
tonality,  the  placing  of  one  chorus  after  another  without  break 
or  pause,  or  the  association  of  declamatory  and  detached 
phrases  with  a  continuous  solo  part, )  should  be  rehearsed  until 
they  are  the  best-known  portions  of  a  composition. 

In  an  oratorio  the  final  chorus  is  usually  one  of  the  most 
difficult  and  is  often  slighted.  This  is  a  mistake.  It  should 
be  thoroughly  prepared.  The  last  impression  made  ought  at 
least  to  be  a  good  one. 

Interest  is  increased  and  labor  lessened  by  rehearsing  diffi- 
cult and  easy  selections  in  alternation. 

It  is  well  to  put  in  rehearsal,  when  possible,  selections  for 
male  and  female  voices  separately.  This  gives  variety  and 
rests  the  voices. 

The  simultaneous  rising  and  sitting  of  a  choral  body  is  to 
be  practised  in  the  rehearsal  room — not  before  an  audience. 
The  singers  should  be  instructed  to  rise  at  a  given  signal — (the 
quieter  the  signal  the  better)  and  to  stand  motionless  when 
once  upon  their  feet. 

Singers  should  not  sing  into  the  music  book. 


158  CHOIR   AND    CHORUS    COXDUCTING. 

The  singer  who  wants  to  be  heard  above  or  longer  than 
the  choir  should  be  suppressed. 

Singers  should  not  be  kept  long  upon  pitches  in  the  upper 
third  of  their  range.  Expert  vocal  teachers  do  not  permit 
their  pupils  to  practice  upon  their  extreme  notes.  They  may 
touch  them  occasionally — that  is  all. 

In  cases  where  solo  and  choral  parts  of  a  number  alternate, 
and  the  solos  are  to  be  sung  by  a  foreign  artist,  it  is  well  to 
have  a  local  singer  take  the  solo  part  at  rehearsals,  so  that  the 
chorus  may  become  accustomed  thereto.  In  such  case,  too,  a 
substitute  will  be  ready  should  the  foreign  singer  fail  to  arrive. 

The  Director  should  sing  for  the  choir,  in  illustration, 
never  with  them. 

He  should  listen  to  the  choir,  occasionally,  at  a  consider- 
able distance.  Defects  will  thus  be  discovered  which  would 
otherwise  be  overlooked. 

The  organist  who  is  also  accompanist,  should  arrange  his 
registration  and  have  another  play,  occasionally,  while  he 
listens,  at  a  distance,  to  choir  and  organ. 


Part  V. 
SERVICE  AND  CONCERT. 


Chapter  I. 

Seating:  of  Performets. — Whenever  possible  each  row  of 
players  or  singers  should  be  seated  somewhat  higher  than  the 
row  immediately  in  front  thereof. 

When  both  orchestra  and  chorus  are  engaged  in  a  per- 
formance of  cantata  or  oratorio,  it  is  usually  best  to  seat  the 
chorus  in  such  a  way  as  that  a  goodly  proportion  of  the  voices 
are  as  near  the  audience  as  is  the  orchestra.  The  point  to  be 
aimed  at  is  to  secure  to  the  listener  an  effect  of  properly 
balanced  and  blended  instrumental  and  vocal  sound.  Where, 
as  is  too  often  the  case,  a  powerful  orchestra  is  seated  between 
the  audience  and  the  chorus,  the  singing  is  heard  as  through 
a  veil  of  orchestral  tone,  and  fails  of  its  proper  effect.  The 
chorus  and  orchestra,  may  therefore,  be  seated  in  this  way : 


^   o         o 
0 
0                 0 

o 
o 

o 

o 
o 

o 
o 

o         o 
0           o 

o 

o 

°                   0 
«^^     O 

O  >v     o 

o 

0 

o 

ORCHESTRA. 
O 

o 
o 

1 

o 

1 

CONDUCTOR. 

159 

160 


CHOIR   AND    CHORUS   CONDUCTING. 


Where  the  male  contingent  is  comparatively  weak  it  is 
well  to  bring  the  tenors  and  basses  nearest  the  audience.  This 
is  sometimes  partially  accomplished  thus  : 


OONDyCTOR. 


The  most  common  arrangement  of  a  small  body  of  mixed 
voices  is  this  : 


TENORS. 

o    o    o    o   o 


o    o    o    o    o    o 

SOPRANOS. 

0      0      0      0      0      0 


O     O      0    O     O     0      o 


O      O      O      O      O      O 

ALTOS. 
O     O     O      O     O      O 


CONDUCTOR. 

When  works  calling  for  a  double  choir  are  performed,  it  is 
best  to  arrange  for  a  complete  choir  on  either  side  of  the 
conductor. 

The  orchestra  may  be  seated  thus  : 


CONDUCTOR. 


The  performers  should  be  seated  quietly,  and  in  their 
places  before  the  appearance  of  the  conductor. 


SERVICE  AND   CONCERT.  X&i 


Chapter  II. 

The  Choir  m  Concert  Performance* — The  choir  should 
know  its  music  so  well  that  the  failure  of  accompanying  organ 
or  orchestra  will  cause  no  embarrassment.  Organ  motors  are 
particularly  unreliable.  A  choir  trained  to  sing  without  acGom- 
paniment  is  independent  of  the  organ. 

If  an  orchestra  is  to  be  employed,  it  should  be  thoroughly 
rehearsed.  Orchestral  players  are  often  indolent  and  sometimes 
indifferent.  They  will  rehearse  as  little  as  possible.  The  choir 
should  know  its  music  very  well  before  rehearsing  with  the 
orchestra.  Otherwise  there  will  be  confusion  and  a  great 
waste  of  time  and  labor. 

^  ^  Rehearse,  rehearse,  rehearse,  and  again  rehearse. ' ' 
After  the  chorus  knows  its  music,  as  many  rehearsals  as 
possible  of  chorus  with  orchestra  should  be  held. 

Special  rehearsals  of  the  ladies  by  themselves  and  likewise 
of  the  gentlemen  alone  are  economical. 

A  choral  body,  as  well  as  a  solo  singer,  may  be  affected  by 
nervousness  or  stage  fright.  The  music  sounds  very  odd,  to 
the  amateur  choralist,  in  the  concert  hall,  as  compared  with 
its  effect  in  the  rehearsal  room.  For  this  and  other  reasons  it 
is  well  to  have  at  least  one  rehearsal  in  the  auditorium  in 
which  the  concert  is  to  be  given.  Well-meaning  but  fussy 
friends  and  critical  admirers  should  be  kept  out  of  the  chorus 
room  until  after  the  concert. 


162  CHOIR   AND    CHORUS    CONDUCTING. 


Chapter  III. 

The  Condifctof  in  Performance* — The  conductor  will  do 
well  to  look  over  his  music,  or  at  least  the  more  important 
numbers  thereof,  immediately  before  a  performance. 

The  conductor  should  face  his  forces  with  a  smiling  coun- 
tenance. Should  he  be  nervous  or  anxious,  he  must  not  betray 
his  feelings,  or  the  performers  will  become  troubled  and  fearful. 

At  all  points  of  possible  danger,  such  as  difficult  entries, 
etc. ,  the  conductor  should  watch  his  forces  to  see  that  they  are 
ready  before  the  moment  for  attack  arrives.  Neither  choral- 
ists,  orchestra  players,  nor  soloists  can  be  depended  upon  to  be 
always  ready. 

The  conductor  stands  between  the  composer  and  the 
listener  as  an  interpreter.  Upon  him  rests  the  responsibility 
for  securing  an  adequate  interpretation  of  the  composition. 
He  is  therefore  of  necessity  clothed  with  equally  comprehen- 
sive authority.  Soloists  as  well  as  chorus  singers  and  orches- 
tral players  are  properly  under  his  direction.  If  a  singer  be 
incompetent,  he  will  refuse  to  conduct  for  such.  If  a  singer 
be  competent  and  experienced,  the  conductor  will  not  try  to 
impose  his  will  upon  the  artist  as  to  matters  of  style  in  deliv- 
ery concerning  which  persons  of  taste  may  differ,  but  will 
furnish  a  discreet,  sympathetic  accompaniment  which  shall 
do  justice  to  the  vocal,  as  well  as  to  the  instrumental  part  of  a 
composition.  If,  however,  the  soloist  should  for  any  reason 
indulge  in  a  delivery  which  would  tend  to  rob  the  music  of  its 
legitimate  effect,  it  is  the  conductor's  duty  to  protest.  The 
soloist  has  his  rights ;   he  must  be  given  a  large  measure  of 


SERVICE   AND   CONCERT.  163 

liberty  in  the  performance  of  his  part,  for  he,  as  well  as  the 
conductor,  has  a  responsibility,  and  will  be  judged  by  his 
work.  To  the  conductor,  however,  belongs  the  wider  and 
superior  responsibility  and  authority. 

The  conductor  who  is  really  fitted  for  his  work  will  never 
be  the  slave  of  the  metronome.  Brahms  is  reported  to  have 
said  : 

' '  I  am  of  the  opinion  that  metronome  marks  go  for 
nothing.  As  far  as  I  know,  all  composers  have,  as  I,  retracted 
their  metronome  marks  in  later  years. ' ' 

A  writer  in  the  '^Monthly  Musical  Record,'^  of  London, 
England,  has  given  a  description  and  analysis  of  the  conducting 
of  certain  orchestral  directors,  extracts  from  which  may  be 
useful  to  the  readers  of  this  work. 

Of  Lamoureux  of  Paris,  (  recently  deceased  ) ,  he  says 
that  the  principal  characteristic  of  his  conducting  was  that  it 
brought  an  effect  of  accuracy. 

Felix  Mottl  is  described  as  "a,  virtuoso,  expressing 
himself. ' ' 

Concerning  Levy  it  is  intimated  that  he  sacrificed  general 
effect  to  detail.  He  often  laid  down  his  baton,  leaving  the 
orchestra  for  a  while,  in  a  measure  to  itself.  Richter,  also, 
did  this. 

As  to  Arthur  Nikisch,  (  for  a  time  conductor  of  the  Boston 
Symphony  Orchestra),  our  author  says  :  ^'  He  is  not  a  person- 
ality and  seeks  to  make  up  for  want  of  personality  by  a  pose. 
Nikisch  the  artist,  not  necessarily  Nikisch  the  man,  is  the  pose. 
He  does  not  so  much  try  to  interpret  the  music  he  plays,  or 
to  use  it  as  a  medium  for  the  expression  of  himself,  as  to  play 
it  in  a  manner  totally  different  from  any  other  conductor. 
Sometimes  he  makes  a  lucky  hit :  oftener  he  makes  an  unlucky 
miss.  He  never  lets  the  music  play  itseK  in  a  natural  manner  ; 
he  plays  everything  a  tempo  rubato. ' ' 


164  CHOIK    AND    CHORUS    CONDUCTING. 

Of  Hans  Eichter's  conducting  this  English  writer  says  it 
is  marked  by  splendid  breadth,  solidity  and  richness,  and  above 
all,  by  unvarying  accuracy  and  high  seriousness.  ^ '  He  has 
worked  up  detail,  so  far  as  he  thinks  proper,  at  the  rehearsals. 
At  the  performance  he  lets  it  look  largely  after  itself.  And  so 
we  get  that  feeling  of  breadth,  of  restrained  strength,  of  deep 
and  splendid  calm  ;  the  conductor  bends  himself  to  the  task  of 
getting  only  what  can  be  got  easily  before  an  audience,  the 
strong  lights  and  shadows,  the  subtle  variations  of  tempo. 
That  is  the  most  obvious  part  of  Eichter's  technique  ;  and  no 
one  should  overlook  the  fact  that  his  beat  means  something  to 
every  member  of  his  band,  that  he  has  practised  and  observed 
until  he  has  learned  how  to  make  his  men  play  softer  or 
louder,  faster  or  slower  with  the  smallest  possible  expenditure 
of  effort  upon  his  own  part. ' ' 

In  these  matters  Theodore  Thomas  of  the  Chicago  Orchestra 
and  Richter  are  much  alike.  And  they  are  excellent  models 
for  growing  conductors.  Excess  of  effort  and  gesture  on  the 
part  of  a  conductor  detracts  from  the  effectiveness  of  a 
performance.  If  a  conductor  must  saw  about  and  beat  the 
air,  let  him  do  it  only  in  the  rehearsal  room. 

Hints» — When  a  conductor  knows  a  score  by  heart  he  has 
power  over  his  forces. 

When  a  conductor  falls  to  stamping  with  his  foot  it  is  a 
sign  of  weakness.  He  has  lost  control  of  himself  and  of  the 
performers. 

When  a  conductor  beats  time  for  a  solo  voice  or  a  quartet 
accompanied  by  one  instrument  only,  it  is  a  sign  that  the 
performers  are  not  fit  to  appear  or  that  the  conductor  has  an 
itch  for  waving  the  stick. 

The  continuity  of  the  story  of  a  work  :  cantata,  or 
oratorio,  should  not  be  broken  by  the  repetition  of  a  number 
in  answer  to  applause. 


SERVICE   AND   CONCERT.  166 

When  a  choir  sings  flat  with  organ  accompaniment  it  is  a 
mistake  to  draw  additional  powerful  stops.  A  softer  organ, 
with  much  string  tone,  and  four-foot  flute  stops  is  helpful. 

When  giving  a  work  in  which  there  are  frequent  and 
extreme  changes  of  tempo,  it  is  well  to  go  over  these  parts 
with  a  metronome  shortly  before  the  performance. 

The  conductor  should  arrange  for  the  simultaneous  rising 
and  sitting  of  the  chorus  during  the  performance  of  a  cantata 
or  oratorio.  It  is  well  to  mark  the  score  ^^  Rise  "  and  **  Sit,'^ 
as  there  is  danger  that,  in  the  multiplicity  of  details  which 
crowd  upon  the  conductor,  he  may  overlook  this  one  at  some 
point  during  the  performance,  with  resulting  embarrassment 
to  all  concerned. 

The  serious-minded  conductor  will  discourage  the  encore 
fiend.  A  program,  if  properly  made,  is  complete,  and  repeti- 
tions or  interpolations  injure  it. 

When  an  orchestra  is  employed  opportunity  should  be 
given  for  tuning  between  the  parts  or  divisions  of  a  cantata  or 
oratorio. 

The  Need  for  a  Conductor* — A  time-beater  during  per- 
formance is  not  necessary  for  a  quartet  or  double-quartet  choir. 
The  director  who  is  also  one  of  the  singers  is  in  closer  touch 
with  the  quartet  in  performance,  and  has  better  control  of  the 
singing,  than  the  director  who  is  also  the  organist.  The 
organist-director  is  usually  placed  behind  the  quartet,  and, 
therefore,  cannot  well  judge  of  the  effect  of  the  singing. 

'^  There  was  never  an  ideal  church  service  in  which  the 
musical  part  was  conducted  by  an  organist,  engaged  in  playing 
the  organ."     F.  H.  Tubbs. 

The  chorus  choir,  for  the  best  work,  needs  the  direction  of 
a  competent  conductor  in  performance. 

^ '  The  church  choir  is  but  a  choral  society  having  a  special 


166  CHOIR   AND    CHORUS    CONDUCTING. 

ofi&ce.  *  *  *  In  essential  requirements  in  the  leader, 
a  church  choir  needs  the  same  kind  of  a  man  and  musician 
which  the  society  has. "     F.  H.  Tubbs. 

'^  In  cathedrals  and  churches  where  much  elaborate  music 
is  being  done,  the  only  way  to  get  the  best  performance,  is  by 
having  a  conductor.  This  is  becoming  more  and  more 
customary,  and  in  this  case  the  organist  would  be  subordinate 
to  the  conductor."  Sir  George  Martin,  of  St.  Paul's,  London, 
England. 


SERVICE   AND   CONCERT.  167 


Chapter  IV. 

A  good  accompanist  is  a  rarity.  The  accompanist  for  a 
choir  or  choral  society  must  be  interested  in  the  work  of  the 
rehearsal  room.  He  must  be  a  ready  reader,  able  to  transpose 
at  sight,  and  to  play  the  four  parts  of  the  vocal  score  ;  a  good 
timist ;  and  alert  to  note  errors  as  quickly  as  the  conductor 
himself,  and  so  save  time  by  knowing,  almost  without  being 
told,  where  to  try  again.  He  should  understand  the  singing 
voice  sufficiently  at  least  to  know  when  a  little  more  or  a  little 
less  force  will  bring  to  the  singers  support  and  comfort.  He 
should  be  quick,  at  rehearsal,  to  note  danger-points  as  to  pitch 
and  rhythm,  and  to  treat  them  so  as  to  give  the  singers 
needed  confidence  ;  also  ever  watchful  in  performance  to  follow 
closely  the  conductor's  indications. 

If  a  singer,  or  ex-singer,  with  a  good  technique  for  the 
piano,  can  be  found,  a  conductor  can,  with  a  little  trouble, 
soon  bring  such  an  one  to  a  satisfactory  state  of  efficiency  as 
a  choral  accompanist.  A  pianist  who  does  not  sing  is  rarely 
satisfactory  in  that  position. 


Part  VI. 
LITEMTURE. 

Chapter  I. 

It  is  hoped  that  the  classified  list  of  books  given  below 
may  prove  useful  to  some  of  the  readers  of  this  work. 

The  Voice  and  Singingf^— ''Art  of  Singing."— Francesco 
Lamperti.  Ricordi,  London.  Translated  into  English  by 
Walter  Jekyll,  M.  A.  Observations  upon  the  Art  of  Singing 
according  to  the  traditional  Italian  school. 

^^Art  of  Respiration." — Liitgen.  Donajowski,  London. 
Small  pamphlet. 

^'The  Art  of  Breathing." — Leo  Kofler.  E.  S.  Werner, 
N.  Y. 

''Gymnastics  of  the  Voice." — O.  Guttman.  E.  S. 
Werner,  N.  Y. 

''Pronunciation  for  Singers." — A.  J.  Ellis.  J.  Curwen 
&  Sons,  London.  Deals  with  English,  Italian,  German  and 
French  pronunciation. 

"Child's  Voice." — Behnke  &  Browne.  O.  Ditson  Co., 
Boston. 

Mttsic  Reading:* — ' '  Standard  Course. ' '  — John  Curwen.  J. 
Curwen  &  Sons,  London.     Tonic  Sol-fa  method. 

"How  to  Teach  the  Staff  to  Tonic  Sol-fa  Pupils."— Ed. 
Mason.     J.  Curwen  &  Sons,  London. 

"Popular  Method  of  Sight-Singing." — Frank  Damrosch. 
G.  Schirmer,  IST.  Y. 

"New  Exercises  for  Sight-Singing  Classes." — Books  I,  II, 
III.     W.  W.  Gilchrist.     Theo.  Presser. 

"Method  of  Solfeggio."— L.  A.  Russell.  G.  Schirmer, 
N.  Y.     A  high  grade  text-book. 

168 


LITERATURE.  169 

^^  Supplement  to  Method  of  Solfeggio." — L.  A.  Russell. 
G.  Schirmer,  N.  Y.     Class  work  for  two  or  three  voices. 

"  Rudimental  Class  Teaching." — H.  R.  Palmer.  John 
Church  Co.,  Cincinnati.     56  pp. 

^'Teachers'  Club."— George  F.  Root.  John  Church  Co. 
62  pp. 

"Teachers'  Manual." — John  Curwen.  J.  Curwen  & 
Sons,  London.     Deals  with  class  work  and  the  art  of  teaching. 

"Practical  Course  in  Ear-training." — Dr.  S.  Jadassohn. 
Breitkopf  &  Hartel,  N.  Y.  76  pp.  Adapted  for  classes  and 
sell-instruction. 

"  Ear  Training." — Arthur  E.  Heacox.     Theo.  Presser. 

^'Intervals,  Chords  and  Ear- training. " — J.  P.  Brown. 
O.  Ditson  Co.,  Boston.     110  pp. 

"Rudiments  of  Music." — W.  H.  Cummings.  Theo. 
Presser.     72  pp.     Well-planned  for  use  in  classes. 

Harmony  and  Composition. — ''  Practical  Harmony."  (On 
a  French  Basis) — Homer  A.  Norris.  H.  B.  Stevens  Co., 
Boston.  Parts  I.  and  II.  with  key.  Covers  modern  chromatic 
harmony, 

'^  Harmony:  A  Text-Book."— H.  A.  Clarke.  Theo. 
Presser. 

''Art  of  Counterpoint." — Homer  A.  Norris.  H.  B. 
Stevens  Co.,  Boston.  The  author's  aim  has  been  to  make 
counterpoint  a  delightful  study,  and  to  adapt  the  same  to  our 
modern  harmonic  system. 

"Counterpoint,  Strict  and  Free." — H.  A.  Clarke.  Theo. 
Presser. 

''  Composition." — Dr.  J.  Stainer.    Theo.  Presser.     140  pp. 

(1)  "Counterpoint."  (2)  "Double  Counterpoint  and 
Canon."     (3)  ''Fugue."     (4)   "Musical  Form."— E.  Prout. 

"Musical  Form." — (  Bussler).     G.  Schirmer,  N.  Y. 

Musical  Forms. — E.  Pauer.     Theo.  Presser.     186  pp. 

Homophonic  Forms. — P.  Goetschius.  G.  Schirmer,  N.  Y. 
A  recent  work. 

"  Musical  Analysis." — A.  J.  Goodrich.  John  Church  Co., 
Cincinnati. 

The  Ofchestf  a* — ^  ^  Instrumentation. ' ' — E.  Prout.  Theo. 
Presser.     144  pp. 

"  Treatise  on  Modern  Instrumentation." — Hector  Berlioz. 
O.  Ditson  Co. ,  Boston. 


170  CHOIR   AND    CHORUS    CONDUCTING. 

^'Orchestra,  and  How  to  Write  for  it." — F.  Corder.  A 
recent  work. 

^^  The  Orchestra."— E.  Prout.  Vol.  I. ,  the  technic  of  the 
instruments.  Vol.  II.,  the  instruments  in  combination. 
Augener  &  Co.,  London.  A  recent  and  most  comprehensive 
work. 

'^  The  Orchestra  and  Orchestral  Music." — W.  J.  Hender- 
son. C.  Scribner's  Sons,  N.  Y.  Helpful  talk  about  the 
orchestra  and  its  work — not  a  text-book  on  instrumentation. 

^'Course  of  Instruction  in  Instrumentation." — S.  Jadas- 
sohn. Breitkopf  &  Hartel,  N.  Y.  A  modern,  comprehensive 
work. 

G^nductingf* — ''Art  of  Conducting." — H.  Berlioz.  Jean 
White,  Boston.     44  pp.     Small  pamphlet. 

''On  Conducting." — R.  Wagner.  C.  Scribner's  Sons,  JST. 
Y.     124  pp. 

"Handbook  of  Conducting." — C.  Schroeder.  Augener  & 
Co. ,  London.     99  pp. 

Accompany ingf^ — "How  to  Play  from  Score." — F.  J. 
Fetis.  Wm.  Reeves,  London.  56  pp.  with  40  pp.  of  music 
plates. 

"  Illustrations  in  Choir  Accompaniment." — T>.  Buck.  G. 
Schirmer,  N.  Y. 

Books  of  Reference* — "Dictionary  of  Music  and  Musi- 
cians."— Sir  George  Grove.  Macmillan  &  Co.,  N.  Y.  Four 
large  volumes.     A  most  valuable  work. 

"  Encyclopaedic  Dictionary  of  Music." — One  large  volume. 
Dr.  H.  Riemann.     Theo.  Presser. 

"Embellishments  of  Music." — L.  A.  Russell.  Theo. 
Presser.  A  comprehensive  and  clear  presentation  of  the 
subject. 

"History  of  Music."— H.  G.  B.  Hunt.  C.  Scribner's 
Sons,  N.  Y.  184  pp.  From  the  beginning  of  the  Christian 
Era  to  the  present  day. 

"Lessons  in  Musical  History." — J.  C.  Fillmore.  Theo. 
Presser. 

"Music  and  Musicians." — A.  Lavignac.  H.  Holt  &  Co., 
N".  Y.  492  pp.  Comprising  :  A  Study  of  Musical  Sound  ; 
The  Materials  of  Sound  (  Musical  instruments  and  orchestra- 
tion) ;  The  Grammar  of  Music  ;   Esthetics  j  History  of  Music 


LITERATURE.  171 

(  Including  Music  in  America) .     The  style  is  interesting  and 
the  work  valuable  to  the  student  musician. 

General  Readingf* — ''Beautiful  in  Music." — E.  Pauer. 
ISTovello,  Ewer  &  Co.,  N.  Y.     ('^  Primer  "  series)  48  pp. 

''Beautiful  in  Music." — Eduard  Hanslick.  Novel lo 
Ewer&Co.,  N.  Y. 

"Boundaries  of  Music  and  Poetry." — W.  A.  Ambros 
G.  Schirmer,  N.  Y. 

"Treatise  on  Choir  and  Chorus  Singing." — F.  J.  Fetis. 
Novello,  Ewer  &  Co.,  IST.  Y.     ("  Primer  series)  31  pp. 

"Theory  of  Interpretation." — A.  J.  Goodrich.  Theo. 
Presser,  Phila.     Modern,  fully  illustrated.     293  pp. 

"Musical  Expression." — M.  M.  Lussy.  Novello,  Ewer 
&Co.,]Sr.  Y.     236  pp. 

"Sound  and  Music' — J.  A.  Zahm.  A.  C.  McClurg  & 
Co.,  Chicago. 

"What  is  Good  Music?"— W.  J.  Henderson.  C.  Scrib- 
ner's  Sons,  N.  Y. 

"  Evolution  of  the  Art  of  Music."— C.  H.  H.  Parry.  C. 
Scribner's  Sons,  N.  Y.  A  valuable  modern  "history"  of 
music. 

"Studies  in  Worship  Music." — J.  S.  Curwen.  C.  Scrib- 
ner's  Sons,  N.  Y.     Secoyid  series. 

"American  Composers." — Rupert  Hughes.  L.  C.  Page 
Co.,  Boston. 


Chapter  II. 


The  list  of  publishers'  catalogues  given  below  refers  to 
Octavo  editions  unless  otherwise  stated.  It  represents  an 
immense  amount  and  variety  of  material  for  the  use  of  choirs 
and  choral  societies.  The  annotations  may  be  of  service  to 
directors  seeking  selections  for  special  uses. 

Novello,  Ewer  &  Co.,  London  and  JSTew  York,  Special 
Catalogues;  "Music  for  the  Church,"  for  the  "Home," 
for  the  "School"  and  for  the  "Choral  Society."  Music  for 
all  combinations  of  voices.  Extensive  list.  Special  lists  for 
the  Episcopal  Service.      Songs  and   Cantatas  for  children's 


172  CHOIR    AND    CHORUS    CONDUCTING. 

voices.  Special  Catalogues  of  music  for  occasions,  as  Christmas, 
Easter,  etc.  Specimen  ' '  Service  List ' '  issued  monthly  gratis. 
The  Standard  Oratorios,  Masses  and  Cantatas. 

Oliver  Ditson  Co. ,  Boston.  Special  Classified  Catalogues. 
''Choir  Leader's  List  of  Music  for  the  Protestant  Church." 
Music  for  all  combinations  of  voices.  Oratorios  and  Sacred 
Cantatas.  Special  catalogues  of  secular  music  for  all  voices. 
Secular  Cantatas  and  large  Choral  Works.  Music  for  the 
Eoman  Catholic  Church.  The  standard  masses.  Monthly 
bulletin  of  new  publications. 

G.  Schirmer,  N.  Y.  Special  Classified  Catalogues  :  ' '  The 
Choir-Master's  Guide;"  Music  for  the  Protestant  Church. 
''The  Chorus  Conductor's  Guide;"  Music  for  all  combina- 
tions of  voices.  List  of  Standard  Oratorios  and  Choral  works. 
Special  lists  of  ancient  choral  music,  and  of  sacred  music  for 
male  voices.  Special  list  of  easy  two  and  three-part  songs  for 
children's  voices.  Collection  of  music  (  Folio)  for  the  Eoman 
Catholic  Church.  The  careful  classification  of  these  catalogues 
adds  to  their  value. 

Arthur  P.  Schmidt,  Boston.  Special  classified  catalogue, 
of  church  music,  anthems  and  part-songs.  Several  of  the 
best  American  composers  represented.  Music  for  all  combin- 
ations of  voices.  Special  list  of  larger  choral  works  by  .leading 
American  composers.     Music  for  the  Roman  Catholic  Church. 

Boston  Music  Co. ,  Boston.  Classified  catalogue.  Church 
music,  chiefly  by  leading  American  writers.  Higher  grade 
secular  choruses  and  part  songs.     Music  for  all  voices. 

White-Smith  Music  Co.,  Boston.  Special  Catalogue. 
Church  music  for  male  and  female  voices.  Secular  trios  and 
quartets  for  all  combinations  of  voices. 

B.  F.  Wood  Music  Co.,  Boston.  Publish  the  "Choir 
Journal  "  semi-monthly.  Text  and  music-plates.  Short  cata- 
logue of  part-songs. 

W.  H.  Gerrish,  Boston.  Special  catalogue  of  sacred  and 
secular  music  for  male  voices.  Also  male  quartets  for  use  in 
connection  with  fraternal  society  work. 

H.  B.  Stevens  Co.,  Boston.  "Tremont"  Collection. 
Sacred  and  secular  music  for  all  combinations  of  voices. 
Strong  English  and  American  writers.  Short  list  of  Oratorios 
and  Cantatas. 


LITERATURE.  173 

John  Church  Co.,  Cincinnati  and  New  York.  Special 
Classified  Catalogue.  '' Octavo  Music  for  all  choirs. "  Music 
for  special  occasions.  Music  for  the  Roman  Catholic  Church. 
Oratorios,  Cantatas.  Also  a  list  of  easier  choral  music,  and 
music  for  children's  voices.  Works  for  use  in  Choral  Classes 
and  Conventions.  Monthly  Bulletin,  ''Music  and  Musi- 
cians. ' ' 

S.  Brainard's  Sons  Co.,  New  York  and  Chicago.  Choir 
music  ;  many  compositions  for  solo  voice  and  chorus.  Secular 
music :  Classified  Catalogue  of  choruses  for  all  combinations 
of  voices.  Books  for  choral  classes  and  conventions.  List 
of  easier  music  for  male  quartets. 

J.  Fisher  &  Bro.,  New  York.  Extensive  catalogue  of 
music  for  the  Roman  Catholic  Church. 

W.  A.  Pond  &  Co.,  New  York.  Music  for  all  choirs, 
chiefly  by  American  composers.  Music  for  the  Episcopal 
service.  Service  for  male  voices.  Glees,  madrigals  and  part- 
songs. 

Boosey  &  Co. ,  New  York.  Classified  Catalogue.  Choruses 
from  Standard  Oratorios.  Sacred  Choral  works.  Music  for 
the  Episcopal  Service  and  the  Roman  Catholic  Church.  A 
series  of  "Masses."  Secular  music  for  all  combinations  of 
voices.  Operatic  Choruses.  Arrangements  for  four  mixed 
voices  of  National  airs  of  England,  Ireland,  Scotland  and 
Wales. 

Edwin  Ashdown,  New  York.  Extensive  catalogue. 
Sacred  and  secular  music  for  all  combinations  of  voices. 
Selections  and  cantatas  for  children's  voices. 

Luckhardt  &  Belder,  New  York.  Classified  Catalogue. 
Special  list  of  high-grade  secular  music  for  men's  voices  with 
accompaniment  for  orchestra. 

Clayton  F.  Summy  Co.,  Chicago.  Short  list  of  choir 
music.  Agent  for  publications  of  several  London  firms. 
Music  with  German  text  for  mixed  and  male  voices.  Monthly 
Bulletin  ;   ' '  The  Music  Review. ' ' 

Fillmore  Bros.,  Cincinnati  and  New  York.  Sacred  and 
secular  music  for  all  combinations  of  voices.  Special  lists  of 
books  for  classes  and  conventions.  Easy  cantatas  and  music 
for  juveniles.  Arrangements  of  "Gospel  Songs"  for  female 
choir. 


174  CHOIR   AND    CHORUS    CONDUCTING. 

Silver,  Burdett  &  Co.,  Boston.  Series  of  choruses  from 
Masses,  Oratorios  and  Operas,  arranged  for  school  choirs. 

''The  Parish  Choir,"  Boston,  Mass.  Music  for  Episcopal 
Service.     Published  weekly. 

George  Molineux,  New  York.  Classified  Catalogue. 
Sacred  and  secular  music  for  all  combinations  of  voices. 
Special  list  of  sacred  and  secular  music  for  male  voices.  Male 
quartets  for  fraternal  society  work. 

Augener  &  Co.,  London.  Special  lists  of  secular  music 
for  female  voices,  in  two,  three  and  four  parts.  Also  music 
for  children's  voices,  including  high-grade  cantatas. 


THE  END, 


175 


CONTENTS 


PART  I. 

ORGANIZATION 

Chapter  I. 

Introduction— The  Church  Choir — Quartet  of  Men's  Voices,  and  of  Women's 
Voices — Trio,  Women's  Voices — Chorus  of  Men's  Voices,  and  of  Women's 
Voices— Quartet  of  Mixed  Voices— The  Balancing  and  Blending  of  Voices.      5 

Chapter  II. 

Quintet  Choir— Double  Mixed  Quartet 12 

Chapter  III. 

Choir  of  Boys  and  Men— Training  of  Boys'  Voices 13 

Chapters  IV,  V,  VI,  VII,  VIII,  IX. 

Chorus  of  Mixed  Voices— Table  of  "Best  Notes  "— Classification  of  Voices- 
Securing  Material— The  "  Seat ' '  Question — IneflBcient  Members 15 

Chapter  X. 

Choir  of  Children's  Voices 30 

Chapter  XI. 

Choral  Society — Plan  for  Organization — Conductor  as  Organizer 32 

PART  II. 

THE  CHOIR  DIRECTOR 

Chapters  I,  II. 

Personal  Qualifications , 37 

Chapter  III. 

Technical  Qualifications 39 

Chapters  IV,  V. 

In  the  Rehearsal  Room— Director  s  Record  Book— Discipline 40 

Chapters  VI,  VII. 

Planning  Services  and  Concerts — The  "  Local  "  Soloist  Question — Concert  Adver- 
tising.—Unity  with  Variety  in  Service  Music 44 

Chapter  VIII. 

Program-Making    50 


176  CONTENTS. 

PART  III. 

THE  CHORAL  CONDUCTOR 

Chapter  I. 

Introduction 52 

Chapter  II. 

"  Manner  "  in  Conducting— Use  of  the  Baton 53 

Chapters  III,  IV. 

Time-Beating — In  Recitative 56 

Chapters  V,  VI. 

Interpretation— Development  of  the  Imagination — Feeling— Study  of  the  Text 64 

Chapters  VII,  VIII,  IX,  X. 

Interpretation— In    General— Study    of   the    Music — Tempo— Accent — Emphasis — 

Phrasing— Breath-Taking— Shading 72 

Chapter  XI. 

Choral    Delivery— Precision    in  Attack    and    Release— Expressive  Treatment  of 

Consonants — Three  "  Forms  "  of  Voice 101 

Chapter  XII. 

'*  Higher  "  (  Emotional  )  Expression,  The 107 

Chapter  XIII. 

Recitative— Modern  Choral  Semi-Recitative 108 

Chapter  XIV. 

Hymn-Singing 110 

PART  IV. 

THE  CHOIR 

Chapter  I. 

Choral  Drill— Securing  and  Holding  Attention ^    111 

Chapters  II,  III,  IV. 

Sight-Singing— Singing  Flat  or  Sharp— Ear-Training 113 

Chapters  V,  VI,  VII. 

Voice-Production—  Breath-Control  —The  Vowels  —  Diphthongs  —Volume  —  Inten- 
sity—  Resonance 117 

Chapter  VIII. 

Blending  of  Voices 122 

Chapters  IX,  X,  XI,  XII,  XIII. 

Singing— Flexibility— The   "Swell" — Agility— Scales,  Runs,   Ornaments— Attack 

and  Release — Legato — Vowel  Equalization— Staccato 123 

Chapter  XIV. 

Speech  in  Song— Pronunciation— Enunciation— Articulation 135 


CONTENTS.  177 

Chapter  XV. 

Expression  —Special  Dynamics—  Shadi  ng  —  Tone-Coloring  —  Emotional    Expres- 
sion    145 

Chapter  XVI. 

Breath-Management  —The   Half-Breath 149 

Chapter  XVII. 

Plan  for  Choir-Rehearsal 151 

Chapter  XVIII. 

Delivery   of  Hymns— Chanting 152 

Chapter  XIX. 

studying  New  Music 154 

Chapter  XX. 

Choir-Preparation,  (  Hints  on  ) 157 

PART  V. 

SERVICE  AND  CONCERT 

Chapter  I. 

Seating  of  Performers— Chorus  and  Orchestra 159 

Chapter  II, 

Choir  in  Concert  Performance — Rehearsals  of  Chorus  with  Orchestra —"  Stage- 
Fright." 161 

Chapter  III. 

Conductor  in  Performance -Conductor  and   Soloist  —  Celebrated  Conductors  at 

work 162 

Chapter  IV. 

Choral  Accompanist 167 

PART  VI. 

LITERATURE 

Chapter  I. 

Text-Books— "Works  of  Reference — General  Reading 168 

Chapter  II. 

Catalogues  of  Choral  Music,  (Annotated) ^ 171 


V 


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